TR 
148 
W6 
1905 


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LIBRARY 

UNIVERSITY  OF 
CALIFORNIA 

SAN  D1EQO 


Df  C.  Theron  v.  E 
Physician  &Surgeonf 

Graduate  of  Royal  University  of  Berlin. 

Specialty  Diseases  of  Women. 

DAVENPORT,  -        IOWA. 


HOTOGRAPHIC 


AMUSEMENTS 


INCLUDING   A   DESCRIPTION   OF  A   NUMBER 

OF  NOVEL  EFFECTS  OBTAINABLE 

WITH    THE   CAMERA 


WALTER   E.   WOODBURY 

FORMERLY    EDITOR    OF 

"THE  PHOTOGRAPHIC  TIMES"; 

AUTHOR  OF 
THE  ENCYCLOPEDIC  DICTIONARY  OF  PHOTOGRAPHY, 

"ARISTOTYPES    AND    How    TO    MAKE    THEM," 
ETC.,    ETC. 


A  NEW  EDITION 


NEW  YORK  : 

THE  PHOTOGRAPHIC  TIMES  PUBLISHING  ASSOCIATION 
34  UNION   SQUARE 

1905 


Copyrighted,  1896. 
BY  THE  SCOVILL  &  ADAMS  Co.,  OF  NEW  YORK, 

1905, 

BY  THE  PHOTOGRAPHIC  TIMES 
PUBLISHING  ASSOCIATION. 


PHOTO-TIMES  PRES 


CONTENTS. 


PAGE 

INTRODUCTION,  5 

THE  MIRROR  AND  THE  CAMERA,          -  -          7 

THE  PHOTO-ANAMORPHOSIS,                                                            -  14 

STATUETTE  PORTRAITS,  IT 

MAGIC  PHOTOGRAPHS,           -  19 

SPIRIT  PHOTOGRAPHY,  -        21 

PHOTOGRAPHY  FOR  HOUSEHOLD  DECORATION,      -  29 

LEAF  PRINTS,      -  33 

To  MAKE  A  PEN  AND  INK  SKETCH  FROM  A  PHOTOGRAPH,  36 

PHOTOGRAPHS  ON  SILK,  36 

PHOTOGRAPHING  A  CATASTROPHE,  38 

PHOTOGRAPHS  ON  VARIOUS  FABRICS,   -  39 

SILHOUETTES,  41 

PHOTOGRAPHING  THE  INVISIBLE,  44 

How  TO  MAKE  PHOTOGRAPHS  IN  A  BOTTLE,  44 

PHOTOGRAPHS  IN  ANY  COLOR,  45 

THE  DISAPPEARING  PHOTOGRAPH,  47 

FREAK  PICTURES  WITH  A  BLACK   BACKGROUND,  48 

How  TO  COPY  DRAWINGS,  52 

SYMPATHETIC  PHOTOGRAPHS,     -  56 

DRY-PLATES  THAT  WILL  DEVELOP  WITH  WATER,  56 

CARICATURE  PHOTOGRAPHS,       -  -        57 

PHOTOGRAPHING  SEAWEEDS,  62 

STAMP  PORTRAITS,  63 

LUMINOUS  PHOTOGRAPHS,    -  63 

FLORAL  PHOTOGRAPHY,              -            -                        -  -        64 


4  CONTENTS. 

DISTORTED  IMAGES,        -  67 

PHOTOGRAPHS  WITHOUT  LIGHT,     -  67 
ELECTRIC  PHOTOGRAPHS, 
MAGIC  VIGNETTES,    - 

A  SIMPLE  METHOD  OF  ENLARGING,     •  71 

MOONLIGHT  EFFECTS,  71 

PHOTOGRAPHING  SNOW  AND  ICE  CRYSTALS,    -  -        73 

PHOTOGRAPHING  INK  CRYSTALS,     -  78 

PINHOLE  PHOTOGRAPHY,  80 

FREAK  PICTURES  BY  SUCCESSIVE  EXPLOSIVES,  83 

WIDE-ANGLE  STUDIES,  -        85 

CONICAL  PORTRAITS,  88 

MAKING  DIRECT  POSITIVES  IN  THE  CAMERA,  90 

INSTANTANEOUS  PHOTOGRAPHY,  91 

ARTIFICIAL  MIRAGES  BY  PHOTOGRAPHY,  98 

PHOTO-CHROMOSCOPE,  98 

COMPOSITE  PHOTOGRAPHY,  -        99 

TELE-PHOTO  PICTURES,        -  101 

LIGHTNING  PHOTOGRAPHS,  -      105 

PHOTOGRAPHING  FIREWORKS,  106 

DOUBLES,  .      106 

DOUBLE  EXPOSURES,  113 

COMICAL  PORTRAITS,       -            -                        -  -       114 


INTRODUCTION. 


A>  Mr.  Woodbury  stated  in  his  introduction  to  the 
original  edition  of  this  book,  in  order  to  avoid 
misunderstanding,  it  would  be  well  to  explain  at 
the  outset  that  it  is  not  intended  as  an  instruction  book 
in  the  Art  of  Photography  in  any  sense  of  the  word.  It 
is  assumed  that  the  reader  has  already  mastered  the 
technical  difficulties  of  Photographic  practice  and  is  able 
to  make  a  good  negative  or  print. 

It  was  the  purpose  of  the  author  to  describe  a.  num- 
ber of  novel  and  curious  effects  that  can  be  obtained  by 
the  aid  of  the  camera,  together  with  some  instructive  and 
interesting  photographic  experiments. 

The  contents  of  the  work  were  compiled  from  various 
sources,  chiefly  from  "The  Photographic  Times,"  "The 
Scientific  American,"  "The  American  Annual  of  Photog- 
raphy," "La  Nature,"  " Photographischer  Zeitvertreib, " 
by  Herman  Schnauss,  and  "Les  Recreations  Photogra- 
phiques,"  by  A.  Bergeret  et  F.  Drewin;  and  the  illustrations 
were  likewise  taken  from  various  sources. 

In  conclusion  the  author  or  compiler  modestly  lay 
claim  to  very  little  himself,  quoting  the  words  of  Montaigne, 
who  said: — 

"/  have  gathered  me  a  paste  of  other  men  s  flowers,  of  which 
nothing  but  the  thread  that  binds  them  is  mine  own." 

And  yet  so  popular  did  the  book  prove  that  in  the 
course  of  its  nearly  ten  years  of  life,  it  ran  through  edition 
after  edition,  and  now  is  entirely  out  of  print. 

The  publishers  of  The  Photographic  Times  thereupon, 
acquired  the  copyright  of  the  popular  volume  and,  here- 
with, republish  an  entirely  new  edition,  which  they  send 
forth  on  its  mission  of  instruction  and  entertainment. 

W.   I.   LINCOLN  ADAMS. 
NEW  YORK,  January,   1905. 


PHOTOGRAPHIC    AMUSEMENTS. 


THE  MIRROR  AND  THE  CAMERA. 

QUITE  a  number  of  novel  effects  can  be  obtained  by  the  aid  of 
one  or  more  mirrors.  If  two  mirrors  are  taken  and  placed 
parallel  to  one  another,  and  a  person  placed  between,  the  effect 


FIG.   I — EFFECT    OBTAINED    WITH    PARALLEL    MIRRORS. 

obtained  is  as  shown  in  Fig.  1,  where  one  soldier  appears  as  a 
whole  regiment  drawn  up  into  line.  To  make  this  experiment 
we  require  two  large-sized  mirrors,  and  they  must  be  so 


8  PHOTOGRAPHIC     AMUSEMENTS. 

arranged  that  they  do  not  reflect  the  camera  and  the  photog- 
rapher, but  give  only  multiple  images  of  the  sitter.  This  will 
be  found  quite  possible,  all  that  is  necessary  is  to  make  a  few 
preliminary  experiments,  adjusting  the  mirrors  at  different 
angles  until  the  desired  effect  is  obtained. 

A  process  of  multiphotography  which  was  at  one  time  quite 
popular  consisted  in  posing  the  sitter  with  his  back  to  the 
camera  as  shown  in  Fig.  2  and  3.  In  front  of  him  are  arranged 
two  mirrors,  set  at  the  desired  angle  to  eacli  other,  their  inner 
edges  touching.  In  the  illustrations  here  given  the  mirrors  are 
inclosed  at  an  angle  of  To  deg.,  and  five  reflected  images  are 
produced.  When  an  exposure  is  made  and  the  negative 
developed,  we  not  only  have  the  back  view  of  the  sitter  but 


FIG-    2 — DIAGRAM    OF    THE     PRODUCTION    OF    FIVE    VIEWS    OF    ONE 
SUBJECT    BY    MULTIPHOTOGRAPHY. 

the  full  reflected  images  in  profile,  and  three-quarter  positions 
as  well. 

In  the  diagram,  Fig.  2,  reproduced  from  "  The  Scientific 
American,"  the  courses  taken  by  the  rays  of  light  determined 
by  the  law  that  the  angle  of  incidence  is  equal  to  the  angle  of 
reflection  is  plainly  marked  out.  We  see  here  their  passage 
from  the  sitter  to  the  mirror  and  back  to  the  camera.  Pro- 
vided the  mirror  be  large  enough  images  of  the  full  length  figure 
can  be  made  as  shown  in  Fig.  4. 

For  photographing  articles  where  it  is  of  advantage  to 
secure  a  number  of  different  views  of  the  same  object  this 
method  of  photographing  with  mirrors  opens  up  quite  a  wide 


PHOTOGRAPHIC     AMUSEMENTS.  <) 

field  of  possibilities.  In  France  it  is  used  for  photographing 
criminals,  and  thus  obtaining  a  number  of  different  portraits 
with  one  exposure. 

The  use   of  an   ordinary  mirror  in  portrait  work  lias  en- 


abled  photographers  to  produce  very  pleasing  results.  There 
is  often  a  very  striking  difference  between  the  full  and  side 
views  of  a  person's  face,  and  by  means  of  such  a  combination 
as  this,  one  is  enabled  to  secure  a  perfect  representation  of  both 


10 


PHOTOGRAPHIC     AMUSEMENTS. 


at  the  same  time.  In  making  reflection  portraits  it  has  often 
been  noted  that  the  reflection  lias  a  more  pleasing  effect  than 
the  direct  portrait.  The  reason  of  this  is  that  it  is  softer,  and 
the  facial  blemishes  are  not  so  distinctly  brought  out.  There 
is  naturally  a  slight  loss  of  detail,  but  this  is  by  no  means  a  draw- 
back. The  worst  fault  of  the  camera  in  portrait  photography 
is  the  tendency  to  include  every  little  detail  which  the  artist 
would  suppress.  It  not  only  includes  all  the  detail  but  often 


FIG.  4. — MULTI-PHOTOGRAPH    OF    A    FULL-LENGTH    FIGURE. 

exaggerates  it  to  a  painful  extent.  By  making  a  portrait  by 
reflection  this  defect  is  avoided.  Of  course  the  image  is  reversed, 
but  this  is  in  most  cases  of  little  consequence ;  in  fact 
the  sitter  himself  would  be  more  likely  to  consider  it  a  far 
more  truthful  likeness,  for  when  we  look  into  a  mirror  we 
do  not  see  ourselves  as  others  see  us,  but  a  reversed  image. 
"With  some  faces  the  difference  is  quite  striking. 


12  PHOTOGRAPHIC     AMUSEMENTS. 

Very  many  amusing  effects  can  be  obtained  by  the  use 
of  a  convex  mirror.  Even  an  ordinary,  well-polished  spoon 
may  be  made  to  give  some  curious  results  (see  iig.  6).  Ine 
thin  man  becomes  an  oblongated  mass  of  humanity  that 
Barnum  would  have  given  a  big  salary  to,  while  the  fat  man 
may  be  reduced  to  the  proportions  of  a  walking-stick. 

Convex  mirrors  for  producing  these  ludicrous  effects  can  be 
purchased  at  any  mirror 
manufacturer's  store.  The 
advantage  of  the  camera 
lies  in  the  ability  to  secure 
permanently  the  curious 
images  produced. 

Even  more  ridiculous- 
looking  images  can  be 
secured  by  the  use  of  a 
piece  of  uneven  glass 
silvered.  For  a  method  of 
silvering  glass  we  are  in- 
debted to  the  kindness  of 
Dr.  James  H.  Stebbins,  Jr., 
the  well-known  analytical 

chemist.      Dissolve    pure 

nitrate  of  silver  in  distilled 

water  in  the  proportion  of 

10  grains   to  1  ounce,  and 

add  carefully,  drop  by  drop, 

sufficient   strong    ammonia 

solution  to  just  dissolve  the 

brown   precipitate   at   first 

formed,  stirring  constantly  during  the  addition. 

Make  a  solution  of  Rochelle  salts,  10  grains  to  the  ounce  of 

distilled  water.     Clean  the  plate  of  glass  thoroughly  with  a 

little  wet  rouge  and  polish  dry  with  a  piece  of  chamois  leather. 

Warm  it  before  the  fire  or  in  the  sun  to  about  TO  to  80  deg. 

Fahr.,  and  lay  it   on  a  perfectly  level  surface.     Then  mix  1 

ounce  of  the  silver  solution  with  half  an  ounce  of  the  Kochelle 


FIG.    6. — ELONGATED    REFLECTION 
IN    A    SPOON. 


PHOTOGRAPHIC     AMUSEMENTS.  13 

salt  solution  and  pour  the  mixture  on  the  glass,  so  tliat  every 
part  of  the  surface  will  be  evenly  covered  with  it. 

Allow  this  to  stand  in  the  warm  sunshine  from  half  to  one 
hour,  when  the  reduced  silver  will  be  deposited  as  a  fine  film 


NO.  7. CURIOUS   EFFECT    OBTAINED    WITH    A    CONVEX    MIRROR. 

over  the  surface  of  the  glass.  When  this  is  done  waoh  off  the 
glass  with  distilled  water  and  wipe  the  entire  surface  very 
gently  with  a  little  wet  wadding,  which  will  take  off  the  rough- 
ness and  render  it  easier  to  polish.  When  perfectly  dry  the 


1-t 


PHOTOGRAPHIC     AMUSEMENTS. 


silver  should  be  polished  by  rubbing  with  some  smooth,  hard 
surface.  The  plate  is  then  varnished  by  pouring  over  it  a 
suitable  varnish  and  is  ready  for  use. 


THE  PHOTO-ANAMORPHOSIS. 

THE  name  anamorphosis  has  been  given  to  two  kinds  of 
pictures  distorted  ascording  to  a  certain  law,  and  which  are  of 
such  a  grotesque  appearance  that  it  is  often  impossible  to 
recognize  the  subject  of  them  ;  while  viewed  with  proper 


FIG.    8.       ANAMORPHOSIS  VIEWED    IN  CONVEX  CYLINDRICAL 
MIRROR.* 

apparatus  they  appear  as  perfectly  correct  images.  One  kind 
is  designed  to  be  viewed  by  reflection  and  the  other  is  recon- 
stituted by  means  of  a  special  rotary  apparatus. 

Until  quite  recently,  these  pictures  were  drawn  approxi- 
mately from  the  reflection  of  the  object  as  seen  in  a  convex 

*  From  "  Experimental  Science."    Published  by  Munn  &  Co.,  New  York. 


PHOTOGRAPHIC    AMUSEMENTS. 


15 


FIG.    9. — A    PHOTO-ANAMORPHOSIS. 

mirror,  the  position  of  which  was  indicated  on  the  drawing 
and  which  restored  it  to  its  real  form.  M.  Fenant  conceived 
the  idea  of  employing  photography  for  obtaining  these  pict- 
ures. Fig.  9  reproduces  a  photo-anamorphosis  from  a  negative 
by  M.  Fenant.  If  a  cylindrical  mirror  be  placed  on  the  black 
circle  shown  in  the  reproduction  the  photograph  will  appear 
in  its  original  form.  Our  illustration  represents  a  portrait, 
although  the  features  are  barely  recognizable.  Similar 
pictures  may  be  obtained  by  photographing  the  drawing  or 
subject  reflected  in  a  cylindrical  concave  mirror  placed 
perpendicularly. 

The  second  kind  of  anamorphosis  is  produced  by  the  distor- 
tion of  the  picture  in  the  sense  of  one  of  its  dimensions.  To 
reconstruct  it,  it  is  caused  to  rotate  rapidly,  at  the  same  time 
that  a  disc,  perforated  with  a  slit  through  which  the  picture  is 
viewed,  is  rotated  in  front  of  it  at  a  slightly  different  speed. 

The  apparatus  invented  by  M.  Linde  for  producing  the 


16 


PHOTOGRAPHIC    AMUSEMENTS. 


anamorphosis  is  shown  in  Figs.  10  and  11.  G  is  a  camera 
provided  with  a  revolving  plate-holder,  T.  II  is  a  revolving 
disc  the  movement  of  which  is  made  to  bear  a  certain  relation 
to  that  of  the  plate-holder  by  means  of  the  band  F  and  the 
pulleys  D  D.  The  whole  is  set  in  operation  by  a  piece  of 
clockwork  and  the  G  and  F.  A  is  the  axis  of  the  camera, 
B  that  of  the  plate-holder,  and  C  that  of  the  revolving  disc. 
On  this  disc  is  fixed  the  picture  from  which  it  is  desired  to 
make  an  anamorphosis.  The  relative  motions  are  so  regulated 
that  when  the  plate-holder  has  made  a  complete  revolution  the 
disc  has  turned  through  an  angle  of  60  to  80  degrees  in  the 

-• 


FIGS.  TO  AND  IT. — LINDE'S  APPARATUS  FOR  PHOTO-ANAMOR- 
PHOSIS. 

opposite  direction.  Between  the  plate-holder  and  the  lens  is 
a  diaphragm  pierced  with  a  slit  about  10  millimetres  wide. 
The  action  of  the  light  on  the  plate  takes  place  through  this 
slit.  The  negative  obtained,  prints  are  made  upon  plain  salted 
paper  and  rendered  transparent  with  wax  or  vaseline.  These 
pictures  can  be  viewed  in  the  ordinary  apparatus  used  for 
showing  anamorphoses  of  this  kind.  The  print  is  fastened  to 
a  revolving  apparatus  and  in  front  of  it  is  another  disc  painted 
black  and  provided  with  a  number  of  slits.  The  latter  revolves 
at  one-fourth  the  speed  of  the  picture,  and  the  image  when 
viewed  through  the  slit  resumes  its  normal  proportions. 


I'HOTOGKAPHIC    AMUSEMENTS.  1  < 

STATUETTE  PORTRAITS- 

THESE  were  at  one  time  quite  popular,  and  if  properly  man- 
aged can  be  rendered  very  effective.  There  are  several  meth- 
ods of  making  this  kind  of  picture.  If  the  photographer 
possesses  a  pedestal  large  enough,  all  that  is  necessary  is  to 
place  this  on  a  stand  and  the  person  to  be  photographed 
arranged  behind. 

The  breast  is  uncovered  and  some  white  soft  material  art- 
istically arranged  in  folds  over  the  shoulders  and  in  such  a 
way  as  to  appear  connected  with  the  pedestal.  A  black  back- 
ground is  placed  behind  and  the  exposure  made.  To  give  a 
more  realistic  effect  the  hair,  face,  and  all  other  parts  showing 
should  be  liberally  powdered  over  with  a  white  powder  or  rice 
flour.  The  negative  produced  will  have  a  clear  glass  back- 
ground, but  the  body  of  the  figure  will  still  be  visible.  This 
is  removed  by  cutting  away  the  film  round  the  pedestal  and  to 
the  arms  on  each  side,  leaving  only  those  parts  remaining  that 
are  required  to  produce  the  statuette.  In  printing  we  get  a 
white  statuette  portrait  on  a  dark  background. 

If  the  photographer  does  not  possess  a  pedestal  the  next 
best  means  to  produce  these  pictures  is  to  get  a  large  sheet  of 
cardboard  and  cut  it  out  to  the  shape  shown  in  the  •figure 
beneath,  and  with  white  paint  make  the  picture  of  a  pedestal 

shading  with  a  little 
gray  to  give  rotund- 
ity. The  figure  is 
stationed  behind  it, 
and  a  black  back- 
ground used. 

A  third  method 
involves  still  less 
trouble.  This  is  to 
purchase  a  ready 
made  pedestal  nega- 
tive. These  are  film 
negatives  of  a  pedestal  that  can  be  adjusted  to  the  negative  of 


18 


PHOTOGRAPHIC    AMUSEMENTS. 


the  subject  desired  to  be  reproduced  as  a  statue.  After  the 
negative  is  taken  and  varnished  the  film  is  scraped  off  round 
the  figure,  cutting  off  the  body  as  shown  in  the  first  illustration, 
after  which  the  pedestal  negative  is  adjusted,  fastened,  and 


.  B.  Bradshaw. 

FIG.    13.    STATUETTE    PORTRAIT. 


fe  revereible  and  «»  *•  be  used 


PHOTOGRAPHIC     AMUSEMENTS. 

MAGIC  PHOTOGRAPHS. 


19 


TAKE  an  ordinary  silver  print  and  fix  it  without  toning. 
Thoroughly   well  wash  it  to  remove  all  traces  of  the  fixing 


solution  and  then  immerse  it  in  a  saturated  solution  of  bi- 
chloride of  mercury,  when  the  image  will  disappear.  The 
bichloride  of  mercury  changes  the  photograph  into  white 


20 


PHOTOGRAPHIC    AMUSEMENTS. 


chloride  of  silver  and  chloride  of  mercury  which  is  also  white. 
The  image  when  on  white  paper  is  thus  rendered  invisible. 

Next  soak  some  strong  bibulous  paper  in  a  saturated  solution 
of  sodium  hyposulphite,  and,  when  dry,  paste  a  piece  of  the 
paper  to  the  back  of  the  invisible  print  with  a  little  starch 
paste  attaching  it  by  the  edges  only.  All  that  is  necessary  is 

to  soak  the  print  in  a  little 
water,  which  dissolves  the 
sulphite  and  causes  it  to 
attack  the  print  and  make 
the  image  perfectly  visible 
as  a  brown  picture.  Of 
course  the  image  can  also  be 
made  to  appear  by  soaking 
the  invisible  print,  without 
the  bibulous  paper  attached, 
in  a  solution  of  sodium 
sulphite,  hypo,  or  water  with 
a  little  ammonia  added. 

Magic  photographs  made 
in  the  manner  above  described  can  also  be  developed  by  smoke. 
A  novelty  introduced  in  Paris  some  time  ago,  consisted  of 
a  cigarette  or  cigar  holder,  shown  in  Fig.  14,  containing 
in  its  stem  a  little  chamber  for  the  insertion  of  a  small 
piece  of  apparently  plain  paper,  but  in  reality  invisible 
photographs  produced  in  the  manner  already  described. 
The  ammonia  vapor  in  the  smoke  passing  through  the 
chamber  attacked  the  print  and  developed  the  image.  By 
blowing  the  smoke  on  the  latent  image  it  may  be  made  to 
appear,  but  the  operation  is  rather  tedious,  and  anyone  with  a 
little  ingenuity  can  easily  construct  a  cigarette  holder  with  an 
arrangement  to  hold  small  pictures  and  allow  the  smoke  to 
pass  through. 

The  chamber  of  the  cigarette  or  cigar  holder  must  of  course 
be  sufficiently  large  to  allow  of  the  print  being  inserted  in  such 
a  manner  that  the  smoke  can  readily  attack  its  surface,  other- 
wise uneven  development  of  the  image  will  take  place. 


FIG.    15.   DEVELOPING  THE  IMAGE. 


PHOTOGRAPHIC     AMUSEMENTS.  21 

SPIRIT  PHOTOGRAPHY. 

MANY  years  ago,  in  the  old  wet-collodion  days,  a  well-known 
photographer  was  one  day  surprised  by  the  visitation  of  a 
spirit.  The  apparition  did  not  make  its  appearance  during  the 
nocturnal  hours,  as  is,  we  have  been  given  to  understand,  the 
custom  of  these  ladies  and  gentlemen  from  the  other  world, 
but,  strangely  enough,  in  broad  daylight ;  and  not  by  his  bed- 
side to  disturb  his  peaceful  slumber,  but  upon  the  photograph 


SPIRIT        PHOTOGRAPH. 


he  was  in  the  act  of  producing.  Had  this  gentleman  been  of 
that  soft-brained  kind,  so  easily  gulled  by  the  professional 
spiritualist,  it  is  possible  that  he  would  not  have  done  what  lie 
did,  which  was  to  make  a  thorough  and  scientific  examination 
as  to  the  probable  cause  of  the  phenomenon.  The  case  was 
this :  A  gentleman  sitter  had  been  taken  in  the  usual  manner 
upon  a  collodion  plate.  Upon  taking  a  positive  print  from 


22 


PHOTOGRAPHIC     AMUSEMENTS. 


the  negative,  lie  was  surprised  to  find  a  dim  white  figure  of  a 
lady  apparently  hovering  over  the  unconscious  sitter.  Upon 
examination  of  the  negative,  the  image  of  the  figure  was  also 
visible,  but  not  so  plainly  as  in  the  positive.  The  explanation 


From  La  Natur 


FIG.    17.    SPIRIT    PICTURE. 


of  the  whole  matter  was  soon  made  easy.  In  those  days  glass 
was  not  so  cheap  as  at  present,  and  all  new  or  spoilt  negatives 
were  cleaned  off  and  freshly  prepared  with  collodion  for 
further  use.  In  this  case  the  glass  had  previously  supported 


PHOTOGRAPHIC     AMUSEMENTS. 


23 


the  negative  image  of  a  lady  dressed  in  white.  Some  chemical 
action  had  evidently  taken  place  between  the  image  and  the 
glass  itself,  turning  the  latter  slightly  yellow  in  some  parts. 
This  faint  yellow  image,  although  hardly  visible  in  the  nega- 


FTOIU  La  Natur 


FIG.    l8.    SPIRIT    PICTURE. 

tive,  had,  being  of  a  non-actinic  color,  given  quite  a  distinct 
image  in  the  positive.  The  case  was  net  an  isolated  one,  as 
these  spirit  photographs,  as  they  were  called,  often  made  their 
appearance  when  old  negatives  were  cleaned  and  the  glass 


24  PHOTOGRAPHIC     AMUSEMENTS. 

used  again.  The  precise  action  producing  the  image  has 
never,  we  think,  been  satisfactorily  explained.  It  could  often 
be  made  more  distinct  by  breathing  on  the  gldss.  We  do  not 
know  if  any  enterprising  humbug  ever  took  advantage  of  this 
method  of  producing  spirit  photographs  to  extort  money  from 
the  unwary,  but  about  ten  years  ago  a  work  was  published, 
entitled  "  Chronicles  of  the  Photographs  of  Spiritual  Beings 
and  Phenomena  Invisible  to  the  Material  Eye,"  by  a  Miss 
Houghton.  In  this  a  number  of  reproductions  of  photographs 
of  "  spirits "  were  given  with  a  detailed  explanation  of  how 
they  were  obtained  and  the  difficulties  attending  their  pro- 
duction, the  "  spirits  "  being  apparently  of  very  independent 
natures,  only  making  their  appearance  when  they  felt  so 
inclined.  It  is  quite  possible  that  a  person  entirely  ignorant 
of  photographic  methods  might  be  led  into  the  belief  that 
they  were  actually  photographic  images  of  the  dead,  but  we 
fear  that  the  book  is  hardly  well  enough  written  to  deceive 
the  experienced  photographer.  At  certain  and  most  unfortun- 
ate periods  in  the  process  employed,  some  of  the  plates  had  a 
convenient  habit  of  slipping  into  the  washing  tank  and  there, 
according  to  the  author,  becoming  utterly  ruined ;  also  we 
learn  that  many  were  ruined  by  being  accidently  smudged  by 
the  photographer's  fingers.  We  should  not,  we  fear,  have  a 
very  high  opinion  of  an  operator  who  was  in  the  constant 
habit  of  "  smudging "  negatives  with  his  fingers  so  as  to 
entirely  spoil  them,  nor  can  we  quite  understand  what  brand 
of  plates  was  used  that  "got  spoiled  by  falling  into  the  water." 

It  is  not  difficult  to  explain  how  these  pictures  were  pro- 
duced. There  are  quite  a  number  of  methods.  With  a  weak- 
minded  sitter,  over  whom  the  operator  had  complete  control, 
the  matter  would  be  by  no  wise  a  difficult  one.  It  would 
then  only  be  necessary  for  the  spirit,  suitably  attired  for  the 
occasion,  to  appear  for  a  few  seconds  behind  the  sitter  during 
the  exposure  and  be  taken  slightly  out  of  focus,  so  as  not  to 
appear  too  corporeal. 

If,  however,  the  sitter  be  of  another  kind,  anxious  to  dis- 
cover how  it  was  done  and  on  the  alert  for  any  deceptive  prac- 


PHOTOGRAPH  1C     AMUSEMENTS. 


25 


tices,  the  method  described  would  be  rather  a  risky  one,  as  he 
might  turn  round  suddenly  at  an  inconvenient  moment  and 
detect  the  modus  operandi.  In  such  a  case  it  becomes  neces- 
sary to  find  some  other  method  where  it  would  not  be  requisite 
for  the  "spirit"  to  make  its  appearance  during  the  presence 
of  the  sitter. 

The  ghostly  image  can  be  prepared  upon  the  plate,  either 
before  or  after  the  exposure  of  the  sitter.  The  method  is  this : 
In  a  darkened  room  the  draped  figure  to  represent  the  spirit 
is  posed  in  a  spirit-like  attitude  (whatever  that  may  be)  in 
front  of  a  dark  background  with  a  suitable  magnesium  or 
other  arrangement  light  thrown  upon  the  figure,  which  is  then 
focused  in  the  "  naturalistic  "  style ;  or,  better  still,  a  fine  piece 
of  muslin  gauxe  is  placed  close  to  the  lens,  which  gives  a  hazy, 
indistinct  appearance  to  the  image.  The  exposure  is  made 
and  the  latent  image  remains  upon  the  sensitive  plate,  which 
is  again  used  to  photograph  the  sitter.  Upon  developing  we 
get  the  two  images,  the  "spirit''  mixed  up  with  the  figure. 
The  spirit  should  be  as  indistinct  as  possible,  as  it  will  then  be 
less  easy  for  the  subject  to  dispute  the  statement  that  it  is  the 
spirit-form  of  his  dead  and  gone  relative.  ISome  amount  ol 
discretion  in  this  part  of  the  perfor- 
mance must  be  used,  wefancy,  otherwise 
the  same  disaster  might  happen  asdid  to 
a  spiritualist  some  little  time  ago.  An 
elderly  gentleman  had  f  come  .for  a 
stance,  and,  after  some  mysterious 
maneuvers,  Jhe  gentleman  was  in- 
f<&H»ed  that  the  spirit  of  his  mother 
was  there.  ''Indeed!"  replied  the 
gentleman,  gome  what  astonished. 
"What  does  she  say?"  "She  says 
she  will  see  you  soon,"  informed  the 
medium.  "You  are  getting  old  now  "SPIRIT"  PK 
and  must  soon  join  her."  "Quite 

right,"  replied  the  old  gentleman  ;  "  I  am  going  round  to  her 
house  to  tea  to-night." — Total  collapse  of  spiritualist. 


FIG.  20. PHOTOGRAPH  OF  "SPIRITS." 


PHOTOGRAPHIC     AMUSEMENTS. 


Fluorescent  substances,  such  as  bisulpliate  of  quinine,  can 
also  be  employed,  This  compound,  although  almost  invisible 
to  the  eye,  photographs  nearly  black.  If  a  white  piece  of 
paper  be  painted  with  the  substance,  except  on  certain  parts, 
the  latter  only  will  appear  white  in  the  picture. 


FIG.    21.    PAINTING    BY    N.    SICHEL. 
From  which  "  Spirit "  Photograph  was  made. 

We  hope  that  it  will  not  be  inferred  that  we  desire  to  ex- 
plain how  to  deceive  persons  writh  regard  to  photographs  of 
spirits,  for  this  is  not  so  ;  we  only  hope  that  they  will  be  made 


28  PHOTOGRAPHIC     AMUSEMENTS. 

merely  for  amusement,  and  if  possible  to  expose  persons  who 
practice  on  t'ie  gullibility  of  inexperienced  persons. 

Fig.  20  is  a  reproduction  of  a  "  spirit "  photograph  made 
by  a  photographer,  claiming  to  be  a  "spirit  photographer," 
and  to  have  the  power  to  call  these  ladies  and  gentle- 
men from  the  '-vasty  deep"  and  make  them  impress  their 
image  upon  the  sensitive  plate  by  the  side  of  the  portraits 
of  their  living  relatives. 

Fortunately,  however,  we  were  in  this  case  able  to  expose 
this  fraud.  Mr.  W.  M.  Murray,  a  prominent  member  of  the 
Society  of  Amateur  Photographers  of  New  York  called  our 
attention  to  the  similarity  between  one  of  the  ''spirit" 
images  and  a  portrait  painting  by  Sichel,  the  artist. 

A  reproduction  of  the  picture  is  given  herewith,  Fig.  21,  and 
it  will  be  seen  at  once  that  the  spirit  image  is  copied  from  it. 

In  a  recent  number  of  The  Australian  Photographic  Journal 
we  read  of  the  following  novel  method  of  making  so-called 
spirit  photographs :  "  Take  a  negative  of  any  supposed  spirit 
that  is  to  be  represented,  put  it  in  the  printing  frame  with 
the  film  side  out;  lay  on  the  glass  side  a  piece  of  platinotype 
paper  with  the  sensitive  side  up ;  clamp  in  place  the  back 
of  the  printing  frame  and  expose  to  the  sun  for  half  a 
minute.  Now  place  in  the  printing  frame  the  negative  of 
another  person  to  whom  the  spirit  is  to  appear,  and  over  it 
put  the  previously  exposed  sheet  film  side  down  ;  expose  to  the 
sun  for  two  minutes'  until  the  image  is  faintly  seen,  then 
develop  in  the  usual  way  and  the  blurred  spirit  photograph 
will  appear  faintly  to  one  side  or  directly  behind  the  distinct 
image.  Sheets  of  paper  with  different  ghost  exposures  can  be 
prepared  beforehand." 

Spirit  photograph  might  "easily  be  made  by  means  of  Prof. 
Roentgens  newly  discovered  process  of  impressing  an  image 
upon  a  photographic  dry-plate  without  uncovering  the  shutter. 
The  process  would  however  entail  considerable  expense  and 
would  necessitate  the  use  of  so  much  costly  apparatus  that  we 
will  content  ourselves  with  the  simple  mention  of  the  pos- 
sibility. 


PHOTOGRAPHIC     AMUSEMENTS. 


29 


PHOTOGRAPHY  FOR    HOUSEHOLD  DECORATION. 

How  few  amateur  photographers  there  are  who  thoroughly 
enter  into  the  enjoyment  of  the  art-science  as  a  pastime. 
Many  of  these,  perhaps,  must  be  excused  for  the  reason  that 
they  are  ignorant  of  its  capabilities.  Indeed,  how  many  there 
are  who  imagine  that  the  art  of  photography  consists  in  mak- 
ing negatives  and,  from  these,  prints — good,  bad  and  indifferent. 
All  the  friends  and  relations  are  called  into  requisition  "  to  be 
taken."  At  first  they  do  not  mind,  thinking  it  a  fine  thing  to 
have  a  portrait  made  for  nothing;  but  when  they  see  the 
result  they  very  naturally  object  to  be  caricatured,  and  the 
amateur  loses  many  a  friend,  and  the  maiden  aunt  leaves  all 
her  money  to  the  home  for  stray  cats.  If  he  is  a  married  man 
and. delights  in  a  happy,  cosy  home,  neatly  and  artistically 
decorated,  photography  can  be  of  very  great  assistance  to  him 
—  how  much,  few 
realize.  There  are  a 
thousand  different 
ways  in  which  it  can 
be  of  use,  and  the 
photographer  has  al- 
ways before  him  some 
permanent  record  of 
his  travels  and  skill. 

Let  us  take,  for  in- 
stance, the  making  of 
transparencies. 
These  are  very  simply 
made.      Carbutt,  I 
believe,     supplies 
plates  ready  made  for 
the  purpose.      Every 
amateur  becomes  pos- 
sessed after  a  time  of  a  large   number   of   negatives,  good, 
bad,  and  indifferent.     Let  him  carefully  go   through  these, 
selecting  a'l  t!:e  printable  ones  and  pictures  that  he  mostly 


30  PHOTOGRAPHIC    AMUSEMENTS. 

admires.  From  these,  transparencies  can  be  made,  either  by 
contact,  or  enlarged  or  reduced  inthe  camera.  Persons  residing 
in  cities  often  have  a  nicely  furnished  room  utterly  marred  by 
an  unsightly  outlook.  Perhaps  a  view  of  chimney  pots  and 
dirty  back  yards.  In  such  a  case  all  that  is  necessary  is  to  fit 
in  the  lower  panes  of  glass  some  neat  photographs  on  glass 
backed  with  thin  ground-glass.  These  can  be  puttied  in,  or 
they  can  be  fitted  in  neat  brass  frames  and  hung  up  against 
the  windows. 

The  craze  of  the  present  day  appears  to  be  in  the  direction 
of  bright  and  gaudy  colors,  except  with  the  more  highly 
cultivated,  who  recognize  the  artistic 
value  of  unobtrusive  colors  and  deli- 
cate tints.  A  photograph,  provided 
it  is  a  good  one,  is  always  to  be  pre- 
ferred to  colored  pictures  unless  the 
latter  are  by  good  artists.  We  once 
constructed  with  a  half  dozen  of  trans- 
parencies a  very  neat  lamp  shade. 
Some  idea  of  it  can  be  obtained  from 
Fig.  23. 

A  brass  frame  is  first  constructed, 
and  any  wire  maker  will  execute  this 
so  as  to  hold  the  six  or  eight  pictures. 
The  transparencies  are  made,  cut  down 
to  the  size  and  shape  required  and  fitted 
in  small  brass  tabs  at  the  back  to  keep 
them  in  their  places  behind  the  trans- 
parency; then  ground  glass  of  the 

same  size  and  shape  is  fitted.  The  glasses  should  not  fit  too 
tightly  in  the  brass  frames  or  on  expanding  by  the  heat  tlu-y 
willl  crack. 

A  hall  lamp  can  be  treated  in  the  same  way,  the  colored 
glass  removed  and  photographic  transparencies  substituted. 
Photos  on  glass  can  in  the  same  way  be  used  for  a  variety  of 
other  purposes,  such  as  fire  screens,  candle  shades,  etc. 

Next  look  up  your  stock  of  prints,  scraps,  waste  prints,  etc. 


PHOTOGRAPHIC    AMUSEMENTS. 


31 


Often  from  a  large,  spoilt  picture  you  can  get  a  neat  little  bit 
about  a  couple  of  inches  square  or  less ;  look  up  all  these  and 
from  them  a  photographic  chess-board  can  be  made.  Our 
illustration  in  Fig.  24  is  intended  to  show  what  is  meant, 
although  our  artist  has  not  been  happy  in  the  selection  of  his 
material  to  represent  photographic  views  and  portraits.  First 
mark  out  a  square  the  size  you  wish  the  chess  board  to  be. 
Divide  it  into  sixty  four  equal  squares  and  draw  a  neat  border 
round  it.  Thirty-two  of  the  squares  are  then  neatly  pasted 


no.  24. 

over  with  selected  photographs  as  varied  as  possible  in  subjects. 
Sixteen  are  fitted  one  way  and  sixteen  the  other.  Our  illus- 
tration is  incorrect  in  this  respect.  The  sixteen  pictures 
should  be  placed  the  right  way  on  the  sixteen  squares  nearest 
to  each  player.  "When  the  photographs  have  all  been  pasted  on 
and  dried  the  whole  is  sized  and  varnished.  If,  however,  it  is 
desired  to  preserve  this  photographic  chess  board,  and  at  the 
same  time  to  use  it  frequently,  a  better  plan  is  to  cover  over 
with  a  glass  plate  and  bind  all  round  the  edges  to  prevent,  dus* 
from  entering. 


32  PHOTOGRAPHIC     AMUSEMENTS. 

In  a  similar  way  a  neat  card  table  can  be  manufactured. 
Fig.  25  is  intended  to  illustrate  the  top  of  the  table  covered 
with  photographs  and  protected  by  a  glass  plate. 

A  little  consideration  will  no  doubt  give  various  other 
similar  ideas  to  the  reader. 

Those  who  can  work  the  carbon  process  successfully  have  it 
in  their  power  to  transfer  .photographs  in  various  colors  to  all 
kinds  of  supports  to  wood  for  instance.  The  panels  of  a 
door  can  be  very  considerably -improved  by -t!;e  insertion 
of  photographs  on  fine  grain  wood,  varnished. 


FIG.    25, 

Pictures  can  in  this  manner  bo  transferred  to  plates,  china 
and  ornaments  of  every  description. 

Various  methods  of  printing  on  silk  and  various  fabrics 
have  from  time  to  time  been  given.  Perhaps  the  best  for  our 
purpose  is  the  primuline  process,  as  various  colored  images  can 
be  produced,  with  but  little  trouble,  on  all  kinds  of  material. 
A  description  of  the  process  will  be  found  in  another  part  of 
this  work. 

These'  the  amateur  can  hand  over  to  his  better  half  or  female 
relations,  who  with  the  natural  feminine  abilities  will  produce 
all  sorts  of  pretty  artistic  articles  for  decorating  the  room. 


PHOTOGRAPHIC    AMUSEMENTS. 


33 


We  are  well  aware  that  we  hare  by  no  means  enumerated 
one  half  of  the  various  means  in  which  photography  can  be 
employed  for  decorating  the  house,  but  hope  at  least  to  have 
given  the  reader  some  idea  of  what  its  capabilites  are. 


LEAF  PRINTS. 

XOTHING  can  exceed  the  beauty  of  form  and  structure  of 
the  leaves  of  different  plants.  Kuskin  observes:  "Leaves 
take  all  kinds  of  strange  shapes,  as  if  to  invite  us  to  ex- 
amine them.  SJ.ar-shaped,  heart-shaped,  spear-shaped,  fretted, 
fringed,  cleft,  furrowed,  serrated,  sinuated ;  in  whirls,  in 
tufts,  in  spires,  in  wreaths,  endlessly  expressive,  deceptive, 
fantastic,  never  the 
same,  from  footstalk 
to  blossom,  they  seem 
perpetually  to  tempt 
our  watchfulness  and 
take  delight  in  out- 
stripping our  won- 
der." Photography 
has  placed  in  our 
hands  a  simple 
method  of  preserving 
facsimiles  of  their 
every  varying  shapes 
that  will  lact  long 
after  the  leaf  lias  died 
and  crumbled  to  dust. 
Although  the  discov- 
ery of  the  darkening 
action  of  silver  chlor- 
ide when  exposed  to 
light  was  discovered 
by  Scheele  as  far  back  as  1777  little  was  apparently  known  of 
the  possibilities  attending  the  discovery  until  1839,  when  Fox 


FIG.    26.    LEAF    PRINT.       BY  T.  GAFFIELD. 


34: 


PHOTOGRAPHIC     AMUSEMENTS. 


Talbot  read  a  paper  on  "A  Method  of  Photogenic  Drawing." 
in  which  he  described  various  experiments  that  could  be  made 
with  paper  coated  with  this  substance,  and  showed  many 
pictures  of  leaves,  ferns,  and  pieces  of  lace  which  he  had 
obtained. 


FIG.    27.    LEAF    PRINT. 


BY  T.  GAFFIELD. 


The  illustrations  which  we  reproduce  herewith  are  repro- 
ductions from  leaf  prints  made  by  Mr.  Thomas  Gaffield,  who 
has  made  quite  a  study  of  this  fascinating  pastime.  In  a 
little  work  entitled  "  Photographic  Leaf  Prints,"  published  in 
1861),  he  describes  his  method.  The  leaves  and  ferns  are  iirst 


PHOTOGRAPHIC     AMUSEMENTS.  35 

selected  and  pressed  between  the  leaves  of  a  book.  They 
must  not  be  dried  as  in  that  state  they  do  not  so  readily  permit 
the  light  to  pass  through  and  the  delicate  structure  of  the  leaf 
would  not  be  reproduced.  They  should  therefore  only  be 
pressed  sufficiently  to  allow  the  excess  of  moisture  to  be 
extracted.  A  sheet  of  glass  is  put  into  the  printing  frame  and 
the  leaves  artistically  arranged.  When  the  arrangement  is 
satisfactory  the  leaves  are  attached  to  the  glass  with  a  little 
mucilage  to  prevent  them  from  slipping  out  of  their  places. 
A  sheet  of  sensitive  paper,  albumen,  aristo,  or  platinum  is  then 
inserted,  the  frame  closed  up  and  exposed  to  the  light  until  a 
very  dark  print  is  obtained.  The  time  required  in  printing 
must  be  found  by  practice ;  it  will,  of  course,  differ  according 
to  the  intensity  of  the  light.  It  is  a  good  plan  to  employ  an 
actinometer  to  judge  of  the  correct  exposure.  It  is  not  possible 
to  open  the  frame  as  a  double  or  blurred  picture  would  result. 
The  leaves  should  be  exposed  sufficiently  long  to  enable  the 
light  to  penetrate  through  them  and  give  a  distinct  image  of 
the  veins  and  structure. 

When  the  printing  is  completed  the  paper  is  removed  and 
toned  and  fixed  in  the  usual  manner.  If  platinotype  paper  is 
used,  this,  of  course,  requires  development.  The  resulting 
picture  gives  us  a  light  impression  of  the  leaves  on  a  dark 
background,  but  if  so  desired,  the  print  thus  obtained  can  be 
used  as  a  negative.  It  can  be  made  transparent  with  wax  or 
vaseline,  and  prints  obtained  from  it  giving  a  dark  image  on  a 
white  ground.  It  is  difficult  to  say  which  picture  is  the  more 
beautiful.  We  give  illustrations  of  pictures  of  both  kinds. 
Fig.  26  and  27. 

Naturally  enough  the  beau'y  of  these  pictures  lies  in  the 
careful  selection  and  arrangement  of  the  leaves.  Those  which 
are  too  thick  should  not  be  used.  Delicate  ones  showing 
by  transmitted  light,  all  the  veins  are  the  most  suitable.  Thev 
can  be  arranged  artistically  in  any  shape,  or  form.  We  pre- 
fer, however,  a  life  like  arrangement  to  the  construction  of 
various  shapes  and  designs. 


36  PHOTOGRAPHIC     AMUSEMENTS. 

TO  MAKE  A  PEN  AND  INK  SKETCH  FROM  A 

PHOTOGRAPH. 

BY  the  following  method  anyone  can,  without  any  knowl- 
edge of  drawing,  produce  from  a  photograph  a  pen  and  ink 
sketch  suitable  for  reproduction  as  an  illustration.  From  the 
negative  a  silver  print  is  made  on  albumen  or  gelatine  or 
collodion  paper.  This  is  fixed  without  toning  in  a  solution  of 
hyposulphite  of  soda.  It  must  then  be  thoroughly  washed  to 
remove  all  traces  of  hypo,  and  when  dry,  the  outlines  of  the 
photograph  are  traced  over  with  a  fine  pen  and  a  waterproof 
ink,  obtainable  at  any  artist's  material  store.  If  the  photog- 
rapher possesses  a  little  knowledge  of  drawing  some  of  the 
shading  can  also  be  attempted.  "When  the  ink  is  dry  the  pict- 
ure is  immersed  in  a  saturated  solution  of  bichloride  of  mercury 
(poison)  when  the  photograph  will  disappear,  leaving  the  out- 
line sketch  intact.  The  picture  is  again  well  washed  and 
dried.  Newspaper  sketches  are  often  made  from  photographs 
in  this  manner,  a  zincotype  being  quickly  produced  from  the 
drawing. 


PHOTOGRAPHS  ON  SILK. 

PHOTOGRAPHS  can  be  made  very  effective  printed  upon  silk, 
satin,  or  other  fabrics.  There  are  several  methods  of  accom- 
plishing this.  A  simple  one  is  the  following  :*  The  silk  best 
suited  for  the  purpose  is  that  known  as  Chinese  silk,  and  this 
is  first  washed  in  warm  water  with  plentiful  lather  of  soap ; 
then  rinse  in  hot  water,  and  gradually  cool  until  the  final 
washing  water  is  quite  cold.  Next  prepare  the  following 
solutions :  Tannin,  4  parts  ;  distilled  water,  100  parts.  Sod- 
ium chloride,  4  parts;  arrowroot,  4:  parts;  acetic  acid,  12 
parts;  distilled  water,  100  parts. 

The  arrowroot  is  mixed  up  into  a  paste  with  a  little  of  ti/e 
distilled  water,  and  the  remainder  added  boiling  hot,  with  the 
acid  and  the  salt  previously  dissolved  in  it.  When  the  solution 

*  From  the  "Encyclopaedic  Dictionary  of  Photography,"  by  the  author. 


PHOTOGRAPHIC     AMUSEMENTS.  3« 

is  quite  clear  the  tannin  solution  is  added,  and  the  whole  allowed 
to  get  fairly  cool.  The  silk  is  then  immersed  for  about  three 
minutes,  being  kept  under  without  air  in  the  folds,  and  then 
hung  up  to  dry,  or  stretched  out  with  pins  on  a  flat  board. 
The  material  is  then  sensitized  by  brushing  over  with  the  fol- 
lowing solution:  Silver  nitrate,  12  parts;  distilled  water,  100 
parts ;  nitric  acid,  2  drops  to  every  3  ounces.  Other  methods 
of  sensitizing  are  by  immersing  in  or  floating  on  the  silver 
solution.  After  sensitizing,  the  material  is  dried  by  pinning 
on  to  a  board  to  keep  flat.  It  is  then  cut  up  as  required,  and 
printed  behind  the  negative.  Every  care  must  be  taken  in 
printing  to  keep  the  material  flat,  and  without  wrinkles  or 
folds.  It  must  also  be  kept  quite  straight ;  otherwise,  the 
image  will  be  distorted.  Printing  is  carried  on  in  the  same 
manner  as  with  albumenized  paper.  It  is  then  washed  and 
toned  in  any  toning  bath.  The  sulphocyanide  gives  the 
best  action.  Fix  in  a  10  per  cent,  solution  of  hyposulphite 
of  soda  for  ten  minutes  ;  wash  and  dry  spontaneously.  When 
just  damp,  it  is  ironed  out  flat  with  a  not  over-heatfd 
iron.  Black  tones  can  be  obtained  with  a  platinum  toning  bath, 
or  with  the  uranium  and  gold  toning  bath,  made  up  as  fol- 
lows: Gold  chloride,  1  part;  uranium  nitrate,  1  part.  Dis- 
solved and  neutralized  with  sodium  carbonate,  and  then  added 
to  sodium  chloride,  1C  parts;  sodium  acetate,  10 parts;  sodium 
phosphate,  16  parts;  distilled  water,  4,<>00  parts. 

Very  effective  results  may  be  made  by  printing  with  wide 
white  margins,  obtained  by  exposing  with  a  non-actinic  mask. 

Another  method  is  the  following :  Ammonium  chloride,  100 
grains ;  Iceland  moss,  CO  grains  ;  water  (boiling),  20  ounces. 

When  nearly  cold  this  is  filtered,  and  the  silk  immersed  in 
it  for  about  fifteen  minutes.  To  sensitize,  immerse  the  silk  in 
a  20  grain  solution  of  silver  nitrate  for  about  sixteen  minutes. 
The  silver  solution  should  be  rather  acid. 

Or  immerse  the  silk  in  water,  1  ounce  ;  sodium  chloride,  5 
grains ;  gelatine,  5  grains.  When  dry,  float  for  thirty  seconds 
on  a  50  grain  solution  of  silver  nitrate.  Dry  slightly,  over  print 
and  tone  in  the  following  bath  :  Gold  chloride,  4  grains  ;  sod- 


3S  PHOTOGRAPHIC     AMUSEMENTS. 

him  acetate,  2  drachms;  water,  29  ounces.  Keep  twenty-four 
hours  before  using.  Fix  for  twenty  minutes  in  hypo,  4 
ounces  to  the  pint  of  water. 


PHOTOGRAPHING    A   CATASTROPHE. 

Ox  this  page  we  reproduce  a  curious  photograph  by  M. 
Bracq,  which  appeared  some  time  ago  in  the  Photo  Gazette. 


in  Photo  Gazett 


FIG.    28.    A    CATASTROPHE. 


Despite  all  the  terrible  catastrophe  which  it  represents,  carry- 
ing pictures  along  with  him  in  his  fall  the -subject  has  notexper- 


PHOTOGKAI'HIC     AMUSKMKXTS. 


FIG     29. 


fenced  the  least  imeasiness,  not  even  so  much  as  will  certainly 
be  felt  by  our  readers  at  the  sight  of  the  tumble  represented. 

The  mode  of  operating  in  this  case  is  very  simple  and  we 
are  indebted  to  La  Nature  for  the  description  of  the  method 
employed  by  M.  Bracq.  The  photographic  apparatus  being 
suspended  at  a  few  yards  from  the  floor  of  the  room,  in  such 
a  way  as  to  render  the  ground- 
glass  horizontal  (say  between  the 
two  sides  of  a  double  ladder — a 
combination  that  permits  of  easy 
focusing  and  putting  the  plates 
in  place),  there  is  spread  upon  the 
floor  a  piece  of  wall  paper,  about 
0  feet  in  length  by  5  feet  in 
width,  at  the  bottom  of  which  a 
wainscot  has  been  drawn.  A  lad- 
der, a  few  pictures,  a  statuette, 
and  a  bottle  are  so  arranged  as  to 
give  an  observer  the  il  1  usion  of  the 
wall  of  a  room,  that  of  a  dining  room  for  instance.  A  hammer, 
some  nails,  etc.,  are  placed  at  the  proper  points.  Finally,  a 
5  feet  by  2^  feet  board,  to  which  a  piece  of  carpet,  a  cardboard 
plate,  etc.,  have  been  attached,  is  placed  under  the  foot  of  a 
chair,  which  then  seems  to  rest  upon  this  faUe  floor  at  right 
angles  with  that  of  the  room. 

Everything  being  ready,  the  operator  lies  down  quietly  in 
the  midsts  of  these  objects,  assumes  a  frightened  expression, 
and  waits  until  the  shutter  announces  to  him  that  he  can  leave 
his  not  very  painful  position.  This  evidently  is  merely  an 
example  that  our  readers  will  bo  able  to  modify  and  vary  at 
their  will. 

PHOTOGRAPHS  ON  VARIOUS  FABRICS. 

Bv  means  of  a  dye  process  known  as  the  '•  Primuline  Pro- 
cess," very  pretty  images  in  various  colored  dyes  can  be  made 
upon  silks,  satins,  cotton  goods,  etc.  The  material  is  first 
dyed  in  a  hot  solution  of  primuline,  made  by  adding  about  15 
to  30  grains  of  the  dye  to  a. gallon  of  hot  water;  a  little  com- 


4()  PHOTOGRAPHIC     AMUSEMENTS. 

mon  salt  should  also  be  added.  On  immersing  the  fabric,  and 
stirring  it  about  in  the  solution,  it  becomes  of  a  primrose 
yellow  color,  when  it  is  removed  and  washed  under  a  cold- 
water  tap.  The  next  process  is  to  diazotise  it  by  immersion 
for  half  a  minute  or  so  in  a  cold  solution  of  sodium  nitrate, 
one  quarter  per  cent,  which  has  been  sharply  acidified  with  hydro- 
chloric or  other  acid.  The  material  is  again  washed  in  cold 
water,  but  it  must  be  kept  in  a  weak  light.  It  can  be  hung 
up  to  dry  in  the  dark,  or  exposed  while  wet  beneath  the  object 
of  which  it  is  required  to  produce  a  positive  reproduction. 
This  process  gives  a  positive  from  a  positive,  so  that  any  ordin- 
ary picture  on  a  sufficiently  translucent  material — flowers, 
ferns,  etc. — can  bo  reproduced.  Printing  requires  about  half 
a  minute  in  the  direct  sunlight  to  half  an  hour  or  more  in  dull 
weather,  or  if  the  material  to  be  printed  through  is  not  very 
transparent.  The  high  light  becomes  of  a  pale  yellow,  so  that 
a  faint  image  is  perceptible  ;  but  this  is  made  visible  in  almost 
any  color  by  development  i.i  a  weak  solution  (about  one-fourth 
per  cent.)  of  a  suitable  phenol  or  amine.  The  following  have 
been  found  suitable : 

For  Bed. — An  alkaline  solution  of  /3-napthol. 

For  Maroon. — An  alkaline  solution  of  /tf-napthol-disul- 
phonic  acid. 

For  Yellow. — An  alkaline  solution  of  phenol. 

For  Orange. — An  alkaline  solution  of  resorcin. 

Brown. — A  slightly  alkaline  solution  of  pyro-gallol,  or  a 
solution  of  phenylene-diarnine-hydrochloride. 

For  Purple. — A  solution  of  a  napthylamine  hydrochloride. 

For  Blue. — A  slightly  acid  solution  of  amidol,  /3  napthol,  ft 
sulphonate  of  sodium,  now  better  known  as  "  eikonogen." 

If  the  design  is  to  ba  made  in  several  colors,  this  can  be 
done  by  painting  on  the  different  developers,  suitably  thickened 
with  starch.  After  developing,  the  material  is  well  washed 
and  dried.  With  the  purple  and  blue  developers  it  is  necces- 
sary  to  wash  the  material  finally  in  a  weak  solution  of  tartaric 
acid.  Wool  and  silk  require  a  longer  exposure  to  light  than 
other  fabrics,  and  cannot  be  successfully  developed  with  the 
maroon  or  blue  developer. 


PHOTOGRAPHIC    AMUSEMENTS.  41 

SILHOUETTES. 

SILHOUETTE  portraits  were  at  one  time  very  popular.  They 
are  simply  made,  and  if  the  effect  is  well  carried  out  will 
afford  considerable  amusement.  The  best  description  of  their 
manufacture  was  given  some  time  ago  by  Herr  E.  Sturmaun, 
in  Die  Photographisclie  Correspondenz.  His  method  is  as 
follows : 

B 


FIG.    30. 

Place  two  dark  back-grounds  in  parallel  position  about  4- 
feet  from  the  sky  and  side  light  of  the  studio  and  distant  from 
each  other  about  six  feet.  Improvise  a  dark  tunnel  bv  draw- 


no.  31. 


ing  a  black  cloth,  of  non-reflecting  material,  over  the  two  dark 
grounds,  and  arrange  a  white  screen,  somewhat  larger  than  the 
distance  between  the  two  dark  grounds  in  an  oblique  position 
SO  as  to  be  fully  illuminated. 


42  PHOTOGRAPHIC    AMUSEMENTS. 

A  A.  The  sky  and  side  light.  B  B.  Two  dark  back-grounds. 
C.  The  white  screen  in  oblique  position.  D.  The  subject.  E. 
The  camera. 

The  subject  to  be  silhouhetted  must  be  placed  in  the  centre 
of  the  tunnel,  one  side  of  the  face  turned  towards  one  ground, 
but  comparatively  nearer  to  the  white  screen  so  that  the  side 
of  the  face  turned  towards  the  camera  is  as  much  as  possible 
in  the  shade. 

Focus  must  be  taken  accurately,  so  that  the  outlines  of  the 
figure  are  perfectly  sharp. 


FIG.  32. 

As  it  is  the  object  to  obtain  a  perfectly  transparent,  glass- 
clear  silhouette  upon  an  absolutely  opaque  ground,  but  a  very 
fhort  time  of  exposure  is  required. 

Develop  as  usual  and  to  secure  perfect  opacity  intensify 
more  than  usual.  Plates  of  lower  sensitiveness  invariably  give 
the  best  results.  A  slow  plate  or  one  made  particularly  for 
reproductions  is  well  adapted  for  this  kind  of  work.  With 
ferrous  oxalate  of  hydrochinon  developer  there  is  scarcely  any 
need  of  intensifying. 


PHOTOGRAPHIC     AMUSEMENTS. 


43 


To  obviate  the  shadows  cast  upon  the  floor  by  the  lower 
parts  of  the  figure,  place  it  upon  a  thick,  large  plate-glass,  sup- 


no.  33. 
ported  bv  props  of.  iive  or  six  inches  in  height,  and    spread 


FIG.  34. 

upon  the  floor  under  the  glass  a  piece  of  white  muslin.     The 
musKn  must  be  free  of  folds    or  wrinkles,   and  be  so   con- 


44:  PHOTOGRAPHIC    AMUSEMENTS. 

uected  with  the  white  screen,  that  the  division  line  between  is 
not  reproduced  upon  the  plate. 

The  very  feeble  shadows  of  the  feet  can  be  easily  touched 
away  with  pencil. 

Single  persons  or  groups  of  two  or  three  figures  can  be 
photographed  in  this  peculiar  style  with   very  good  effect. 
For  head  and  busts  expose  in  the  usual  man- 
ner, but  to  obtain  silhouettes,  similar  to  those 
our  grandmothers  had  cut  in  black  paper,  and 
long  before  photography  was   thought  of, 
cut  an   appropriate  mask  of  black  paper  to 
cover  the  part  not  wanted  during  printing.  FIG-  35- 

It  should  be  born  in  mind  that  in  this  class  of  work  the 
white  background  only  is  the  object  to  be  photographed,  hence 
the  necessity  of  but  very  short  exposures.  With  longer  ex- 
posures absolute  blacks  and  whites  are  impossible. 


'  goou  ei 

I 


PHOTOGRAPHING  THE  INVISIBLE. 

THE  following  is  a  curious  and  interesting  experiment, 
based  upon  the  peculiar  property  possessed  by  fluorescent 
substances  of  altering  the  refrangibility  of  the  chemical  light 
rays.  Take  a  colorless  solution  of  bisulphate  of  quinine,  and 
write  or  draw  with  it  on  a  piece  of  white  paper.  When  dry 
the  writing  or  design  will  be  invisible,  but  a  photograph  made 
of  it  will  show  them  very  nearly  black. 


HOW  TO  MAKE  A  PHOTOGRAPH  INSIDE  A  BOTTLE. 

GET  a  glass-blower  to  make  an  ordinary  shaped  wine-bottle 
of  very  thin  arid  clear  glass,  and  clean  it  well.  Next  take 
the  white  of  two  eggs  and  add  to  it  29  grains  of  ammonia 
chloride  dissolved  in  I  drachm  of  spirits  of  wine,  and  one- 
half  ounce  of  water.  Beat  this  mixture  into  a  thick  froth. 


PHOTOGRAPHIC    AMUSEMENTS.  45 

and  then  allow  it  to  stand  and  settle.  Filter  through  a  tuft 
of  cotton-wool,  and  pour  into  the  specially  made  bottle.  By 
twisting  the  bottle  round,  an  even  layer  of  the  solution  will 
deposit  itself  on  the  sides.  Ponr  off  the  remaining  solution, 
allow  the  film  in  the  bottle  to  dry,  and  again  repeat  the 
operation. 

The  next  operation  is  to  sensitize  the  film  with  a  solution 
of  nitrate  of  silver,  40  grains  to  1  ounce  of  water.  Pour  this 
in  and  turn  the  bottle  round  for  a  few  minutes,  then  pour  off 
superfluous  solution  and  again  dry.  Hold  the  neck  of  the 
bottle  for  a  few  seconds  over  another  bottle  containing 
ammonia,  so  as  to  allow  the  fumes  to  enter  it.  Printing  is 
the  next  operation ;  this  is  accomplished  by  tying  a  film 
negative  round  the  bottle,  and  covering  up  all  the  other  parts 
from  the  light.  Print  very  deeply,  keeping  the  bottle  turning 
round  all  the  time.  Toning,  fixing,  and  washing  can  be  done 
in  the  ordinary  way  by  filling  the  bottle  up  with  the  different 
solutions.  The  effect  is  very  curious,  and  can  be  improved 
by  coating  the  inside  of  the  bottle  with  white  enamel. 


PHOTOGRAPHS  IN  ANY  COLOR. 

THESE  can  be  produced  by  what  is  known  as  the  powder  or 
dusting-on  process.  The  principle  of  the  process  is  this:  An 
organic,  tacky  substance  is  sensitized  with  potassium  bichro- 
mate, and  exposed  under  a  reversed  positive  to  the  action  of 
light.  All  these  parts  acted  upon  become  hard,  the  stickiness 
disappearing  according  to  the  strength  of  the  light  action, 
while  those  parts  protected  by  the  darker  parts  of  the  positive 
retain  their  adhesiveness.  If  a  colored  powder  be  dusted  over, 
it  will  be  understood  that  it  will  adhere  to  the  sticky  parts 
only,  forming  a  complete  reproduction  of  the  positive  printed 
from.  Prepare — Dextrine,  one-half  ounce ;  grape  sugar,  one- 
half  ounce ;  bichromate  of  potash,  one-half  ounce ;  water,  one- 
half  pint ;  or  saturated  solution  bichromate  of  ammonia,  5 


£Q  PHOTOGRAPHIC    AMUSEMENTS. 

drachms ;  honey,  3  drachms ;  albumen,  3  drachms ;  distilled 
water,  20  to  30  drachms. 

Filter,  and  coat  clean  glass  plates  with  this  solution,  and  dry 
with  a  gentle  heat  over  a  spirit  lamp.  While  still  warm  the 
plate  is  exposed  under  a  positive  transparency  for  from  two  to 
five  minutes  in  sunlight,  or  from  10  to  twenty  minutes  in 
diffused  light.  On  removing  from  the  printing  frame,  the 
plate  is  laid  for  a  few  minutes  in  the  dark  in  a  damp  place  to 
absorb  a  little  moisture.  The  next  process  is  the  dusting  on. 
For  a  black  image  Siberian  graphite  is  used,  spread  over  with 
a  soft  flat  brush.  Any  colored  powder  can  be  used  giving 
images  in  different  colors.  When  fully  developed  the  excess 
of  powder  is  dusted  off  and  the  film  coated  with  collodion.  It 
is  then  well  washed  to  remove  the  bichromate  salt.  The  film 
can,  if  desired,  be  detached  and  transferred  to  ivory,  wood,  or 
any  other  support. 

If  a  black  support  be  used,  a  ferrotype  plate  on  Japanned 
wood,  for  instance,  pictures  can  be  made  from  a  negative,  but 
in  this  case  a  light  colored  powder  must  be  used.  The  Jap- 
anese have  lately  succeeded  in  making  some  very  beautiful 
picture  in  this  manner.  Wood  is  coated  over  with  that  black 
enamel  for  which  they  are  so  famous,  and  pictures  made  upon 
it  in  this  manner.  They  use  a  gold  or  silver  powder. 

With  this  process  an  almost  endless  variety  of  effects  can  be 
obtained.  For  instance,  luminous  powder  can  be  employed 
and  an  image  produced  which  is  visible  in  the  dark. 

Sometime  ago  we  suggested  a  plan  of  making  what  might 
be  termed  '<  post-mortem "  photographs  of  cremated  friends 
and  relations.  A  plate  is  prepared  from  a  negative  of  the 
dead  person  in  the  manner  described,  and  the  ashes  dusted 
over.  They  will  adhere  to  the  parts  unexposed  to  light,  and 
a  portrait  is  obtained  composed  entirely  of  the  person  it  repre- 
sents, or  rather  what  is  left  of  them.  The  idea  is  not  par- 
ticularly a  brilliant  one,  nor  do  we  desire  to  claim  any  credit 
for  it,  but  we  give  it  here  for  the  benefit  of  those  morbid  indi- 
viduals who  delight  in  sensationalism,  and  who  purchase  and 
treasure  up  pieces  of  the  rope  used  by  the  hangman. 


PHOTOGRAPHIC    AMUSEMENTS.  4  < 

THE  DISAPPEARING  PHOTOGRAPH. 

A  method  of  making  a  photograph  which  can  be  made  to 
appear  at  will  is  thus  described  in  Les  Recreations  Photo- 
yraphique'. 

TAKE  a  convex  watch  crystal,  Y,  or  any  similar  glass  larger 
if  desired — for  instance,  those  used  for  colored  photographs; 
clean  the  glass  well,  place  it  perfectly  level,  convex  side  down, 
and  fill  it  even  full  with  a  mixture  of  white  wax  and  hog's- 
lard.  When  it  has  solidified,  apply  to  the  back  a  Hat  glass 
plate,  P,  cut  exactly  to  the  largest  dimensions  of  the  convex 


FIG.    36. 

glass,  secure  the  glasses  together  with  a  strip,  ?>.  of  gold- 
beaters' skin,  fastened  by  strong  glue  as  shown  in  the  figure. 
Now  mount  a  portrait,  with  the  front  towards  the  convex  glass, 
on  the  plate  P.  The  combination  is  now  ready ;  by  heating 
it  the  wax  between  the  two  glasses  melts  and  becomes  trans- 
parent, allowing  the  portrait  to  be  seen ;  on  cooling  it  will 
lose  its  transparence  and  the  portrait  will  disappear. 


48  PHOTOGRAPHIC     AMUSEMENTS. 

FREAK  PICTURES  WITH  A  BLACK  BACKGROUND. 

IF  an  object  be  placed  against  a  non-actinic  background 
and  an  exposure  made,  the  black  parts  surrounding  it  will  not 
have  any  effect  upon  the  plate,  and  the  object  can  be  shifted 
to  another  part  and  another  exposure  made.  In  a  recent 
article  published  in  La  Nature,  and  translated  in  the  /Scientific 


FIG.    37. — A    DECAPITATION. 

American,  a  number  of  curious  effects  obtained  by 
M.  R.  Riccart,  of  Sainte  Foix  les  Lyons,  are  described  and 
illustrated. 

The  system  employed  by  the  author  of  these  photographs  is 
that  of  the  natural  black  background  obtained  through  the 
open  door  of  a  dark  room,  combined  with  diaphragms  skill- 


PHOTOGRAPHIC    AMUSEMENTS.  49 

fully  arranged  in  the  interior  of  the  apparatus,  between  the 
objective  and  sensitized  plate.  This  is  the  surest  method  of 
obtaining  the  desired  effect  with  the  greatest  precision,  without 
the  junctions  being  visible,  and  with  perfect  clearness  for  the 
section  of  the  parts  removed.  To  this  effect,  it  is  necessary  to 
place  the  diaphragm  at  three  or  four  centimeters  from  the 
ground  glass,  in  the  last  folds  of  the  bellows  of  the  camera. 


FIU.    38. — ANOTHER    DECAPITATION. 

The  following  are  a  few  data  as  to  the  manner  in  which  the 
scenes  that  we  reproduced  were  obtained.  The  first,  represent- 
ing a  decapitation  by  means  of  a  saber  (Fig.  37),  was  taken  by 
means  of  an  exposure  in  which  the  head  was  placed  upon  the 
block,  the  subject  inclining  forward  upon  his  knees,  and  a 


50 


PHOTOGRAPHIC     AMUSEMENTS. 


diaphragm,  occupying  about  two-thirds  of  the  plate,  com- 
pletely masking  the  body  up  to  the  neck.  Then,  without 
changing  the  position  of  the  apparatus,  the  diaphragm  was 
placed  on  the  other  side  in  order  to  conceal  the  head,  and  the 
body  was  photographed  in  the  second  position  along  with  the 
person  representing  the  executioner.  It  would  have  been 
possible,  by  a  third  exposure,  to  so  arrange  things  as  to  make 
the  executioner  the  decapitated  person.  It  was  by  the  same 
process  that  the  three  following  scenes  were  obtained:  A  per- 


FIG.    39.— THE    HEAD    IN    THE    WHEELBARROW. 

son  with  his  head  placed  before  him  in  a  plate  (Fig.  38);  a 
man  carrying  his  head  in  a  wheelbarrow  (Fig.  39);  and  a 
person  to  whom  his  own  head  is  served  in  a  plate  (Fig.  40). 
Such  scenes  may  be  varied  to  any  extent.  Fig.  41  is  a 
photograph  of  a  decapitation,  while  Fig.  42  is  made  by 
two  exposures  of  an  individual  at  different  distances  but  so 
combined  as  to  give  the  appearance  of  one  exposure.  Fig.  43 
>  that  of  a  person  in  a  bottle.  The  individual  represented  was 


PHOTOGRAPHIC    AMUSEMENTS.  51 

first  photographed  on  a  sufficiently  reduced  scale  to  allow  him 
to  enter  the  bottle.  This  exposure  was  by  using  a  screen  con- 
taining an  aperture,  as  for  the  Kussian  background.  But  this 
precaution  was  taken  merely  to  conceal  the  floor,  and  yet  it 


FIG    40.  —  THE    HEAD    UPON    A    PLATE. 

would  perhaps  be  preferable  in  such  a  case  to  have  the  subject 
stand  upon  a  stool  covered  with  a  very  black  fabric.  However 
this  may  be,  when  once  the  iirst  impres  ion  has  been  made, 
there  is  nothing  more  to  be  done  than  to  photograph  the  bottle 
on  a  larger  scale  and  the  result  is  obtained. 


52 


PHOTOGRAPHIC    AMUSEMENTS. 

HOW  TO  COPY  DRAWINGS. 


THERE  are  three  principal  methods  of  copying  mechanical 
drawings,  tracings,  sketches,  etc.  These  are:  (L)  A  process 
to  obtain  white  lines  upon  blue  ground ;  (2)  a  process  by 
which  blue  lines  upon  a  white  ground  are  obtained ;  and  (3) 
a  process  giving  black  or  violet-black  lines  upon  a  white 
ground. 


FIG.    41.— THE    SAWED-OFF  HEAD. 

The  first  process  is  undoubtedly  the  simplest,  as  after 
printing  upon  the  paper  it  is  developed  and  fixed  by  simple 
immersion  in  cold  water  ;  but,  at  the  same  time,  the  white 
lines  on  the  blue  ground  are  not  so  clear  and  effective  as  the 
other  processes.  The  cyanotype  paper,  as  it  is  called,  can  be 


PHOTOGRAPHIC     AMUSEMENTS. 


53 


obtained  ready  for  use  at  any  draughtsman's  stores,  but  if  you 
prefer  to  make  it  yourself,  here  is  the  recipe  :  Two  solutions 
are  made — 20  parts  of  red  prussiate  of  potash  are  dissolved  in 
100  parts  of  water,  and  10  parts  of  ammonio-citrate  of  iron  in 
60  parts  of  water.  These  two  solutions  should  be  mixed 
together  immediately  before  using,  and  the  operation  must  be 
performed  in  the  dark.  Paper  is  floa'ed  on  this  solution,  or 


FIG.    42. — THE    REDUCTION. 

applied  with  a  broad  camel-hair  brush,  and  hung  up  to  dry. 
If  it  is  well  dried  and  carefully  preserved  from  light,  moist- 
ure, and  air  this  paper  will  keep  for  some  time.  After  print- 
ing— which,  when  sufficient,  should  show  the  lines  copied  of 
a  yellow  color  upon  a  blue  ground — the  prints  should  be 
washed  in  several  waters ;  and  if  a  few  drops  of  chlorine 


54  PHOTOGRAPHIC     AMUSEMENTS. 

water  or  dilute  hydrochloric  acid  be  added  to  the  washing 
water,  the  blue  ground  will  appear  much  darker  and  the  lines 
rendered  clearer  and  whiter.  By  this  method  the  commercial 
paper  sold  is  generally  prepared.  The  prints,  may,  if  desired, 
be  changed  from  blue  to  black  by  immersing  in  a  4  per  cent, 
solution  of  caustic  potash  until  the  blue  is  changed  to  yellow. 
After  being  well  washed,  they  are  laid  in  a  solution  of  tannin. 


FIG.    43.  —  MAN    IN    A     BOTTLE. 

Blue  prints  may  be  given  the  black  tone  by  plunging  them 
into  a  solution  of  4  parts  of  potash  in  100  parts  of  water;  then, 
when  the  blue  color  has  entirely  disappeared  under  the  action 
of  the  potash,  and  a  yellowish  color  has  taken  its  place,  they 
are  immersed  in  a  solution  of  4  parts  of  tannin  in  100  parts  of 
water;  then,  washing  them  again,  we  obtain  prints  whose  tone 
may  be  assimilated  t<?  that  of  pale  writing  ink. 


PHOTOGKAPHIC     AMUSEMENTS.  55 

In  the  process  giving  blue  lines  upon  a  white  ground,  it  is 
necessary  that  the  action  of  the  light  shall  be  to  convert  the 
iron  compound  into  one  that  can  be  discharged  from  instead 
of  being  fixed  on  the  paper,  so  that  we  obtain  a  positive  from 
a  positive.  Abuey  describes  the  process  as  follows  :  Thirty 
volumes  of  gum  solution  (water  5  parts,  gum  1  part)  are 
mixed  with  8  volumes  of  a  citrate  of  iron  and  ammonia  solu- 
tion (water  2  parts,  double  citrate  1  part),  and  to  this  is  added 
5  volumes  of  a  solution  of  ferric  chloride  (water  2  parts,  ferric 
chloride  1  part).  This  solution  thus  formed  is  limpid  at  first, 
but  will  gradually  become  thicker,  and  should  be  used  soon 
after  mixing.  It  is  then  applied  with  a  brush  to  the  paper 
(which  should  be  well  sized)  and  dried  in  the  dark.  Exposure 
is  accomplished  in  a  few  minutes,  the  paper  being  placed 
under  the  drawing  in  the  printing  frame.  It  is  then  devel- 
oped with  potassium  ferrocyanide,  50  grains,  water  1  ounce, 
applied  with  a  brush  until  all  the  details  appear  of  a  dark-blue 
color.  The  print  is  then  rapidly  rinsed,  and  placed  in  a  dish 
containing  the  clearing  solution,  made  of  1  ounce  of  hydro- 
chloric acid  and  10  ounces  of  water. 

The  third  process,  which  gives  violet-black  lines  on  a  white 
ground,  is  the  following :  Make  up  the  sensitive  solution  with 
water,  10  ounces;  gelatine,  4  drachms  ;  perchloride  of  iron  (in 
a  syrupy  condition),  1  ounce ;  tartaric  acid,  1  ounce ;  sulphate 
of  iron,  4  drachms.  The  paper  is  floated  on  or  brushed  over 
with  this  and  dried.  The  exposure  is  about  the  same  as  with 
the  last  process.  When  sufficient,  the  greenish-yellow  color 
will  turn  white,  except  the  lines,  which  should  be  somewhat 
dark.  The  developing  solution  is  composed  of  1  part  of  gallic 
acid  in  10  parts  of  alcohol  and  50  of  water.  When  immersed 
in  this  solution  the  lines  will  turn  blacker.  The  finish  is  then 
made  by  thoroughly  washing  in  water. 


56  PHOTOGRAPHIC     AMUSEMENTS. 

SYMPATHETIC   PHOTOGRAPHS. 

THESE  are  obtained  as  follows  :  A  sheet  of  paper  is  coated 
with  a  ten  per  cent,  solution  of  gelatine,  and  when  dry  this  is 
floated  on  a  ten  per  cent,  solution  of  bichromate  of  potash. 
Again  dry  and  expose  beneath  a  positive  transparency.  The 
print  thus  obtained  is  then  immersed  in  a  ten  per  cent,  solu- 
tion of  chloride  of  cobalt.  The  parts  unacted  upon  by  light 
will  absorb  "the  solution .~  Wash  and  dry.  We  then  have  a 
faint  image  which  will  alter  its  color  according  to  the  state  of 
the  atmosphere.  In  damp  weather  it  will  be  almost  if  not 
entirely  invisible,  but  when  the  weather  is  fine  and  dry,  or  if 
the  image  be  heated  before  a  fire  it  will  turn  to  a  bright  blue 
color. 


DRY-PLATES  THAT  WILL  DEVELOP  WITH  WATER. 

SOME  time  ago  dry-plates  were  placed  on  the  market  which 
would  develop,  apparently,  with  water  and  a  little  ammonia 
only.  The  secret  of  the  method  was  that  the  backs  of  the 
plates  were  coated  with  a  soluble  gum,  containing  the  devel- 
oping agents,  and,  of  course,  when  the  plate  was  immersed  in 
the  water,  they  instantly  dissolved  and  formed  the  developer. 
Plates  thus  prepared  are  useful  in  travelling  where  it  is  not 
always  possible  to  get  the  necessary  developing  solutions.  To 
prepare  them  the  backs  are  coated  with  the  following  mixture ; 

Pyrogallic  acid 154  grains 

Salicylic  acid  15  grains 

Gum  or  dextrine 1 54  grains 

Alcohol  i  fluid  dr. 

Water 5  fluid  dr. 

This  is  allowed  to  dry  at  an  ordinary  temperature.  After 
exposure,  all  that  is  necessary  to  develop  is  to  immerse  the 
plates  in  water  containing  a  small  quantity  of  ammonia. 


1'HOTOGKAl'HIC     AMUSEMENTS. 

CARICATURE  PHOTOGRAPHS. 


57 


THERE  are  quite  a  number  of  different  methods  of  making 
caricature  portraits.  A  simple  one  is  to  make  two  photographs 
of  an  individual.  One  of  the  head  alone  and  another  of  the 
entire  body  on  a  much  smaller  scale.  From  these  two  nega- 
tives prints  are  made,  tl.e  larger  head  is  cut  out  and  pasted  on 
to  the  shoulders  of  the  full  length  figure.  Any  signs  of  the 


From  Tisandu-rV  Handbook. 
FIG.    44.   CARICATURE    PORTRAIT. 

cutting  out  are  removed  by  the  u.-e  of  a  brush  and  a  littje 
coloring  matter.  From  this  combined  print  another  negative 
is  made  so  that  any  number  of  these  caricature  prints  can  be 
made  without  extra  trouble.  Ths  effect  is  shown  in  Fig.  -J4. 

Foregrounds  for  making  caricature  portraits  are  sold  in  this 
country.     The  method  of  using  them  is  shown  in  Fig.  45. 


58 


PHOTOGRAPHIC     AMUSEMENTS. 


The  card  containing  the  grotesque  drawing  is  held  by  the 
sitter  on  his  knees  and  arranged  by  the  photographer  in  such 
a  way  that  his  head  rests  just  above  the 
neck  of  the  painted  body.  A  white 
background  is  arranged  behind  and 
when  the  negative  is  made  all  traces  of 
the  edges  of  the  foreground  are  re- 
moved by  careful  retouching. 

Another  method  of  obtaining  gro- 
tesque caricature  portraits  lias  been  de- 
vised bv  M.  Ducos  du  Ilauron.  His 
apparatus  which  he  calls  ''  La  Photo- 
graphic Transform iste,"  is  thus  de- 
scribed by  Schnauss  in  his  "Photographic 
Pastimes."  "A  Fig.  46  is  the  front  of 
the  box  which  is  furnished  with  an  ex- 
posed shutter  formed  of  a  simple  sliding  piece  fitting  into  the 
grooves  II  R,  R  li  ''  H  B"  are  two  screens  pierced  with  slits 


.45. CARICATURE. 


FIG.  46. — MAKING    THE    CARICATURE    PORTRAIT. 

a  a,  c  c.  C  is  the  rear  end  of  the  box  where  the  dark  slide  is 
placed.  D  is  the  lid  of  the  box,  which  is  lifted  either  for 
placing  trie  slotted  screens  or  for  putting  in  the  sensitive  plate. 


PHOTOGRAPHIC     AMUSEMENTS. 


59 


When  not   working  direct  from  nature,  the  transparency  is 
placed  in  the  grooves  R  R,  R  R,  at  A. 


Is. 

in 

\ 

£jl 

\ 

B 

if  1      '! 

:  A 

'•]        a 

x. 

S 

u 

L:  

I 

I   / 

'•-.,  r 

(         I 

FIG.    47.    THE    HAURON    "  TRANSFORM  ISTE." 

According  to  the  arrangement  of  the  slits,  the  caricatures 
obtained  will  be  different.      If,  for  instance,  the  fii>t  slit  be  a 


FIG.    43.     PH  >TOGR  APH    AND    DISTORTIONS    WITH    THE 
"  TRANSFORMISTE." 

vertical  one,  and  the  other,  ?'.<?.,  the  one  nearest  the  picture,  a 
horizontal  one,  the  picture,  in  comparison  with  the  original,  will 


60  PHOTOGRAPHIC    AMUSEMENTS. 

be  distorted  lengthwise.  If,  however,  one  of  the  slits  forms 
no  straight  line,  but  a  curved  one,  the  transformed  picture 
will  show  either  lengthwise  or  sideways  curved  lines,  accord- 
ing to  the  slit  being  a  vertical  or  a  horizontal  one.  The  form 


FIG.  49. 


FIG.        50 


FIG.     51. 


FIG.    52. 


of  the  resulting  picture  will  also  be  different  according  to 
which  one  of  the  slotted  plates  is  inserted  more  or  less  ob- 
liquely in  the  box, 

The  slits  must  be  made  very  exactly ;  above  all,  their  edges 


PHOTOGRAPHIC     AMUSEMENTS. 


61 


must  be  absolutely  sharp,  e.very  incorrectness  being  transferred 
to  the  picture.  They  niay  be  made  about  one-third  of  a  milli- 
metre wide ;  if  they  are  too  narrow  the  picture  will  not  turn 
out  sharp.  In  making  the  slits  it  is  a  good  plan  to  cut  them 
in  thin  black  paper,  and  to  mount  the  latter  on  glass  plates. 
In  a  later  description  of  the  apparatus  we  learn  that  the 


discs  containing  the  slits  are  never  made  circular  in  shape  and 
so  arranged  that  they  can  be  revolved  as  shewn  in  Fig.  ,">.'>. 
This,  of  course,  allows  of  a  still  greater  variety  of  positions  of 
the  two  apertures  in  relation  to  each  other  and  an  increas- 
ing number  of  grotesque  effects.  Reproductions  of  some  of 
the  pictures  obtained  are  given.*  See  Figs.  48  to  52. 


'Reprinted  from  La  Science  en  Famille. 


g2  1'IIOTOGRAPH  1C     AMUSEMENTS. 

PHOTOGRAPHING  SEA-WEEDS. 

OF  all  the  glorious  creations  of  nature  few  are  more 
beautiful  than  the  delicate  sea  mosses  to  be  found  by 
the  sea  shore.  Many  delight  in  preserving  them  in  a  dry 
state,  mounted  on  cards,  but  unfortunately  they  are  usually  so 


FIG.    54.    SEA    WEED    PHOTOGRAPH. 

fragile  that  after  a  little  while  they  fall  to  pieces.  The 
photographer,  however,  is  able  to  reproduce  these  beautiful 
formations  and  preserve  them  in  a  more  permanent  form  by 


PHOTOGRAPHIC     AMUSEMENTS. 


means  of  his  camera.  It  is  true  that  he  cannot  reproduce 
their  delicate  colorings,  but  the  photographs  can,  if  so  desired, 
be  lightly  printed  on  platinum  paper  and  colored  as  well  as 
possible  by  hand. 


STAMP  PORTRAITS. 
A  SPECIAL  camera  is  sold  for  making  these  little  pictures. 


KIG.    55.    STAMP    CAMERA. 

It  contains  a  number  of  lenses  all  of  the  same  focus.  In  front  is 
an  easel  where  the  portrait  is  attached  sur- 
rounded by  a  suitable  border.  The  images 
given  are  about  the  size  of  poslage  stamps 
(see  3'Tig.  50),  and  when  the  negative  is 
printed  from  an  albumen  or  aristo  paper. 
toned  and  fixed,  they  can  be  perforated 
and  gummed  at  the  back.  They  are  very 
useful  for  sticking  to  letters,  envelopes,  and 
for  business  purposes. 


LUMINOUS  PHOTOGRAPHS. 

THERE  are  several  different  ways  of  making  these.  Obtain 
some  Balmain's  luminous  paint,  and  coat  a  piece  of  cardboard 
with  it.  Place  this  in  the  dark  until  it  is  no  longer  luminous; 
place  this  behind  a  glass  transparency  and  expose  the  light, 
either  daylight  or,  if  at  night-time,  burn  a  small  piece  of  magne- 
sium wire.  Return  to  the  dark,  remove  the  transparency,  and  a 


64  PHOTOGRAPHIC     AMUSEMENTS. 

luminous  photograph  is  obtained  on  the  prepared  card.  A 
simple  plan  is  to  merely  expose  a  piece  of  the  prepared  card 
board  to  the  light  and  place  it  behind  a  transparency ;  then 
retire  to  a  darkened  room.  The  luminous  paint,  showing 
through  it,  will  have  a  very  pretty  effect.  If  no  glass  trans- 
parency is  at  hand,  a  silver  print  can  be  used,  if  previously 
oiled  and  rendered  translucent  by  vaseline  or  any  other  means. 


FLORAL  PHOTOGRAPHY. 

PERHAPS  the  beauties  of  natnre  are  nowhere  better  exem- 
plified than  in  flowers,  and  nothing  can  be  prettier  than  pho- 
tographs of  them  carefully  arranged.  "When  we  say  carefully 
arranged  we  mean,  of  course,  artistically.  The  secret  of 
arranging  flowers — an  art  in  itself — is  to  hide  the  fact  that 
they  have  been  arranged. 

The  charming  pictures  of  flowers  and  fruit  which  appear 
on  this  page  and  the  next,  are  by  John  Carpenter,  an  English 
gentleman,  who  has  made  this  particular  branch  of  photog- 
raphy his  chief  study,  and  has  been  awarded  many  prizes  and 
medals  for  flower  studies. 

Some  time  ago  we  wrote  to  him  asking  for  a  few  particulars 
of  his  method  adopted,  and  he  has  been  so  very  kind  as  to 
send  the  following  valuable  notes  : 

Suitable  Flowers. — I  find  that  the  best  colors  to  photograph 
are  pale  pink,  yellow,  white  or  variegated  colors.  Reds, 
browns,  and  dark  colors  generally,  do  not  answer  well. 

Flowers  of  irregular  form  are  most  suitable,  such,  for 
example,  as  chrysanthemums,  lilies,  poppies,  etc.  These  give 
beautiful  gradations  of  light  and  shade. 

Grouping. — There  is  great  scope  here  for  artistic  feeling. 
All  appearance  of  formal  arrangement  must  be  avoided  and 
a  natural  grouping  should  be  aimed  at.  This  becomes  more 
difficult  as  the  flowers  must  be  somewhat  on  one  plane  to  get 
them  in  proper  focus.  A  round  bunch  of  flowers  which  may 
appear  very  pretty  to  the  eye  would  probably  be  utterly 
wrong  to  make  a  picture  of. 


J.  Carpenter. 


FIG.    57.    FLORAL    STUDIES. 


6ft  PHOTOGRAPHIC'     AMUSEMENTS. 

Lighting.  -I  have  never  worked  in  a  studio  but  have  a 
small  lean-to  glass  house  in  which  I  work.  The  top  light  is 
softened  down  by  light  shades  so  that  the  strongest  light 
comes  from  the  side.  This  gives  solidity  to  the  subject  and 
is  more  pleasing  than  a  flat  lighting.  Of  course,  the  sun 
should  never  shine  on  the  subject. 

Plates  and  Exposure.— It  colored  flowers  are  being  photo- 
graphed, orthochromatic  plates  are  a  necessity,  but  for  white 
flowers  and  light-green  foliage  ordinary  plates  may  be  em- 
ployed. I  generally  use  a  medium  isochromatic,  stop  the  lens 
to  j/722  and  give  exposure  of  from  thirty  to  sixty  seconds  in 
summer  and  vary  according  to  the  season ;  sometimes  twenty 
minutes  is  not  too  much. 

Development. — My  usual  and  favorite  developer  is  pyro- 
ammonia,  and  in  careful  hands  it  cannot  be  beaten.  I  com- 
mence development  with  a  minimum  of  pyro  and  work 
tentatively. 

Using  100  per  cent,  solution  for  2  ounces  of  developer  I 
should  commence  with  1£  grains  pyro,  1  grain  bromide,  and 
2  grains  ammonia.  If  the  image  does  not  gain  sufficient 
density  add  more  pyro  and  bromide,  but  unless  very  fully 
exposed  it  is  difficult  to  avoid  too  much  density,  especially  if 
white  flowers  are  being  photographed. 

I  find  a  plain  gray  or  dark  background  most  useful,  and  to 
avoid  flatness  it  may  be  set  at  an  angle  and  not  too  near  the 
subject. 

Flowers  should  be  photographed  as  soon  as  gathered,  and 
if  possible  be  placed  in  water.  I  have  often  found  a  plate 
spoiled  by  movement  of  the  leaves  or  flowers,  even  with  short 
exposures,  although  the  movement  was  not  perceptible  to  the 
eye.  This  is  more  especially  the  case  in  hot  weather. 


PHOTOGRAPHIC    AMUSEMENTS.  67 

DISTORTED  IMAGES. 

TAKK  a  portrait  negative  that  is  no  longer  of  any  use,  and 
immerse  it  in  a  weak  solution  of  hydrofluoric  acid.  The  film 
will  leave  the  glass.  It  is  then  washed  and  returned  to  the 
glass  support.  By  stretching  the  film  one  way  or  the  other, 
and  allowing  it  to  dry  in  this  position,  the  most  amusing 
prints  can  be  made. 


PHOTOGRAPHS  WITHOUT  LIGHT. 

A  CURIOUS  experiment  showing  that  a  photographic  dry- 
plate  can  be  otherwise  affected  than  by  light,  so  as  to  form 
an  image  upon  it,  is  the  following  : 

An  image  of  copper  in  relief  is  necessary — a  penny  will  do 
for  this  purpose.  Place  an  unex posed  dry  plate  in  a  normal 
pyro  developer,  and  on  it  lay  the  copper  coin.  After  about 
five  minutes  or  so,  remove  the  penny,  fix  and  wash  the  plate, 
when  a  perfect  image  of  the  penny  will  be  found  on  it. 


ELECTRIC  PHOTOGRAPHS. 

SIMILAR  experiments  to  that  described  above  have  been 
carried  out  by  Prof.  Fernando  Sanford.  lie  placed  a  coin  on 
a  dry-plate  and  connected  it  with  the  terminal  of  a  small 
induction  coil,  capable  of  giving  a  spark  of  three  orfour  milli- 
meters, while  a  piece  of  tin  foil  upon  the  opposite  side  of 
the  plate  was  connected  with  the  other  terminal  of  the  coil. 

Several  negatives  were  made  in  this  way,  the  accompanying 
photograph,  Fig.  58,  being  from  one  of  them.  With  one  ex- 
ception, they  all  show  a  fringe  around  them,  due  to  the  escape 
of  the  charge  from  the  edge  of  the  coin,  which  accounts  for 
the  formation  of  the  dark  ring  observed  around  the  breath 
figure  made  upon  glass. 

Later  on  he  undertook  to  photograph  in  the  same  way 
objects  insulated  from  the  photographic  plate,  and  has  since 


PHOTOGRAPHIC     AMUSEMENTS. 


FIG.    58. 


made  negatives  of  coins  separated  from  the  plate  by  paraffine 
shellac,  mica,  and  gutta  percha.  The  accompanying  photo- 
graph, Fig.  59,  was  made  with  the  coin  insulated  from  the 

photographic  plate  by  a 
sheet  of  mica  about  0.04 
mm.  thick.  The  mica 
was  laid  directly  upon 
the  film  side  of  the  plate, 
and  the  coin  was  placed 
upon  it  and  connected  to 
one  terminal  of  the  small 
induction  coil  already 
mentioned.  A  circular 
piece  of  tin  foil  of  the 
circumference  of  the  coin 
was  placed  upon  the  glass 
side  of  the  plate  directly 
opposite  the  coin,  and 
was  connected  to  the  other  terminal  of  the  induction  coil. 
The  little  condenser  thus  made  was  clamped  between  two 
boards,  and  was  covered  up 
in  a  dark  room.  Two  small 
discharging  knobs  were  also 
attached  to  the  terminals  of 
the  induction  coil,  and  were 
separated  by  a  space  of  less 
than  a  millimeter,  so  that, 
when  a  single  cell  was  con- 
nected with  the  primary  coil, 
the  spark  between  the  knobs 
seemed  continuous. 

The  plate  was  exposed   to 
the   action   of  the  waves   set 
up  in  this  condenser  for   one 
hour,  when   it  was   taken  out  and    the   negative    image   de- 
veloped upon  it  by  the  usual  process. 


FIG.  59. 


PHOTOGRAPHIC     AMUSEMENTS. 


69 


MAGIC  VIGNETTES. 

THESE  are  reversed  vignettes,  that  is  to  say  the  margins 
round  the  portrait  instead  of  being  white  as  in  the  ordinary 
vignette  are  black.  A  method  of  making  them  was  recently 
described  by  "Teiute"  in  The  PJiotoyram.  This  was  as  fol- 
lows: 

Two  methods  can  be  adopted.  The  first  of  these  about  to 
be  detailed,  though  entailing,  perhaps,  in  the  first  place  a  trifle 
more  trouble,  produces  the  best  results.  AVe  require  a  black 
background,  preferably  of  black  velveteen,  large  enough  for  a 
head  and  shoulders.  As  the  material  is  not  usually  obtainable 
of  a  width  greater  than  twenty  inches  or  so,  there  will  have  to 

be  a  seam,  and  this  must 
be  very  neatly  done. 
The  seamed  velveteen  is 
then  stretclii  d  taut  on  a 
frame,  which  should  pre- 
ferably be  covered  tirst 
with  calico,  to  prevent 
' '  saggi n g. "  A 1  way s,  be- 
fore use,  dust  the  vel- 
veteen with  a  soft  bnir-h 
—  sav.  a  hut  brush — to 
remove  any  adhering 
dust  or  fluff.  In>tead  of 

Ma>  3i,  1887.  velveteen,  a  good  paper 

FIG.  60.  MAGIC  VIG.NETTKR.  background  can  be  used 

only  it  must  be  seen  that  the  surface  is  smooth  and  free  from 
cracks  or  creases,  and  is  dead  1>1<«-1\. 

AVe  require  also  a  vignetting  mask  suitable  to  the  subject, 
with  a  serrated  edge.  This  has  to  be  lixcd  inside  t  e  camera 
between  the  lens  and  plate.*  The  proper  position  can  be  found 
by  trial ;  the  further  the  card  is  away  from  the  petal  the  softer 
and  more  gradual  the  vignetting.  No  special  arrangement  for 
holding  this  is  required  beyond  what  can  be  prepared  by  any 
one  who  can  use  his  fingers.  We  take  a  piece  of  stout  card, 

*  Avignetter  for  the  purpose,  as  shown  in  F.g.  60,  has  been  placed  on  the  market. 


70  PHOTOGRAPHIC     AMUSEMENTS. 

the  outside  of  which  will  just  fit  into  the  folds  of  the  camera's 
bellows,  and  by  a  little  twisting  it  can  be  sprung  in  between 
the  folds  and  will  hold  them.  There  is  an  opening  in  the 
center,  square  in  shape,  about  quarter  plate  size.  This  acts  as 
a  frame  to  hold  the  vignetting  mask  which  has  the  opening  of 
proper  size  and  shape.  By  using  a  frame  as  described  the 
vignetter  can  be  moved  about  up  and  down  and  from  side  to 
side,  and  when  the  correct  position  is  found  fixed  by  drawing 
pins.  The  frame  and  vignetter  should  be  blacked  all  over. 
For  this  purpose  take  some  lampblack  ground  in  turps,  and 
mix  with  it  a  little  gold  size  sufficient  (found  by  trial)  to  pre- 
vent the  lampblack  from  rubbing  off  when  dry,  but  not  enough 
to  cause  the  paint  to  dry  shiny. 

A  good  distance  to  fix  the  vignetter  is  about  one-third  the 
extension  of  the  camera  when  the  object  is  in  focus,  measuring 
from  the  lens. 

We  adjust  the  camera  so  that  the  image  of  the  figure  falls  in 
the  correct  position  on  the  screen,  and  the  vignette  is  made  of 
such  a  size  and  shape  as  to  give  the  amount  required. 

The  shadow  of  the  mask  protects  the  edges  of  the  plate  sur- 
rounding the  image,  and  in  development  we  obtain  a  negative 
in  which  the  image  is  vignetted  into  clear  glass,  and  on  print- 
ing from  such  the  margins  print  dark.  The  printing  of  such 
a  negative  should  be  prolonged  until  the  margins  of  the  pict- 
ure are  quite  lost,  or  they  are  apt  to  show  after  toning. 

The  sketch  shows  the  arrangement  of  vignetter  inside 
camera. 

The  other  plan  consists  in  making  an  ordinarv  negative, 
using  preferably  a  dark  background.  From  this  is  made  a 
vignette  in  the  ordinary  manner.  When  this  comes  from  the 
frame  it  is  placed  on  a  piece  of  clean  glass-  face  up — and 
another  piece  of  glass  free  from  flaws  placed  over  it.  Now 
cut  a  piece  of  card  to  the  size  and  shape  of  the  vignetted  por- 
tion of  the  print,  and  fix  this  with  glue  to  a  piece  of  cork. 
This  piece  of  cork  must  vary  in  thickness  with  various  pict- 
ures. Now  place  the  cork  on  the  glass  so  that  the  mask  covers 
the  picture  and  fix  with  glue  to  prevent  slipping.  Place  the 


PHOTOGRAPHIC     AMUSEMENTS.  71 

whole  out  in  diffused  light,  and  allow  the  darkening  of  the 
margins  to  go  on  until  sufficiently  deep.  The  print  is  then 
toned. 

The  height  of  the  card  from  the  print  must  be  such  that  no 
abrupt  line  is  produced  between  the  first  printing  and  the 
darkened  margin,  but  that  one  will  shade  into  the  other  with- 
out break. 


A  SIMPLE  METHOD  OF  ENLARGING. 

IF  we  have  an  ordinary  gelatine  negative,  say,  of  half-plate 
size,  and  requiie  to  enlarge  it  to  a  whole  plate,  the  simplest 
plan  is  to  thoroughly  wash  it  and  immerse  in  a  solution  com- 
posed of  citric  acid,  2  ounces;  hydrofluoric  acid,  1  ounce; 
acetic  acid  (glacial),  1  ounce;  glycerine  A  ounce;  water,  k2<> 
ounces.  The  action  of  the  hydrofluoric,  acid  will  be  to  detach 
the  film  from  the  glass,  while  the  other  acids  will  cause  the 
film  to  spread  out  considerably  ;  the  action  bein<j;  even  all  over 
the  image  is  completely  enlarged.  It  is  then  carefully 
removed  and  washed  in  plenty  of  clean  water,  after  which 
it  can  be  transferred  to  a  larger  piece  of  glass.  The  action 
is  sometimes  to  we'iken  the  negative  in  density;  it  is  there- 
fore occasionally  necessary  to  intensify  it. 


MOONLIGHT  EFFECTS. 

CURIOUS  as  it  sounds,  very  good  moonlight  effects  can  be 
procured  on  a  bright  sunshiny  day.  A  photograph  is  made 
-of  a  landscape  in  dazzling  sunlight,  a  small  stop  and  rapid 
exposure  being  given.  The  plate  should,  if  possible,  be 
backed  with  any  of  the  substances  recommended  to  prevent 
halation.  Choose  a  landscape,  with  the  reflection  of  the  sun's 
rays  in  water,  and  include  this  and  the  sun  itself  on  the  plate. 
It  is  best  to  wait,  however,  until  the  sun  just  disappears 
behind  a  cloud.  Shade  the  lens  so  that  the  rays  do  not  shine 
on  it  direct,  and  expose  rapidly.  Use  an  old  or  weak  devel- 


Photographed  fiom  Nature  by  Fred.  Graf. 
FIG.    6l.    MOONLIGHT    PHOTOGRAPH. 


I'lIOTOGRAI'llIC    AMUSEMENTS.  73 

oper.  The  sun  and  its  reflection  will,  of  course,  make  their 
appearance  first.  Continue  the  development  until  the  detail 
in  the  under-exposed  parts  is  just  visible,  and  fix.  Print  very 
darkly,  and  slightly  over  tone.  If  printing  is  done  upon  green 
albumenized  paper,  and  a  little  re-touching  with  Chinese  white, 
the  effect  if  very  good. 


PHOTOGRAPHING  SNOW  AND  ICK  CRYSTALS. 

Few  photographers  there  are  who  appear  to  he  awaiv  <>f 
the  many  beautiful  phenomena  of  nature  that  can  be  studied 
by  the  aid  of  photography.  I'nder  the  title  of  a  Schner  ( 'r\-- 


FIG.    62.    SNOW    CRYSTALS.       PHOTO    BY   DK.  XEUHAUS. 

talle,''  Dr.  G.  Hellmann  has  published*  a  hook  on  this  subject 
profusely  illustrated  with  engravings  and  photo-micrographic 
collotypes  from  direct  photographs  by  Dr.  R.  Neuhaus. 

*  Rudolph  Ml'ckenberger,  Berlin 


•JTJ.  1MIOTOGKAPHIC     AMUSEMENTS. 

Dr.  Xealiaus  describes  his  method  of  photographing  snow- 
Hakes  in  Dr.  Eder's  Jarlrach,  from  which  article  we  extract 
the  most  important  and  interesting  paragraphs:  Were  we 
to  attempt  to  photograph  snow  crystals  in  a  perfectly  cold 
room,  the  temperature  is  still  higher  than  that  out  of 
doors ;  moisture  at  once  precipitates  upon  the  carrier  of  the 
object,  the  crystals  would  melt  and  evaporate  after  a  short 
time,  the  work  must  be  done  in  the  open,  and  perfect  success  can 
be  expected  only  w"ien  the  temperature  is  at  least— 50  deg.  P.. 


FIG.    63.    SNOW  CRYSTALS.       PHOTO  HV  1)R.   NEUHAUS. 

Snow  crystals  evaporate  rapidly  even  in  low  temperature, 
and  the  work  requires  to  be  done  rapidly  and  with  caution. 
Freshly  fallen  snow  only  will  give  a  good  photograph,  and  as 
we  are  compelled  to  work  in  the  midst  of  the  snow  storm,  the 
task  becomes  still  more  complicated  and  difficult.  Snow 
crystals  but  a  short  time  after  falling  break,  the  broken  piece» 
freeze  together  and  crystallization  is  destroyed.  For  the 
illumination  of  snow  crystals,  transmitted  light  only  can  be 
used,  reflected  light  destroys  the  shadows,  and  injures  the  high 


PHOTOGRAPH  IO     AMUSEMENTS. 


lights,  and  tlie  result  is  necessarily  but  a  very  imperfect  picture 
of  the  object. 

Diffused  light,  especially  that  of  a  dark  winter's  day,  and 
during  a  snow  storm,  is  not  fit  for  this  kind  of  photo-micro 


Photo  by  Martin. 


FIG.  64.    A  NATURAL  PHENOMENON  IN  ICE. 

graphic  work,  and  we  must  resort  to  artificial  light,  preferably 
to  that  of  a  petroleum  lamp.  To  prevent  heat  action  emanat- 
ing from  the  illuminating  ray  cone,  an  absorptive  cell  of  alum 


PHOTOGRAPHIC     AMUSEMENTS. 


solution  should  be  interposed.     As  alum  solution  freezes  solid 

in 5  cleg.  It.,  chloride  of  sodium  is  added.     With  llartuark's 

projection  system  =  3 1  mm.  focus  distance,  from  5  to  7  seconds 
upon  an  erylhrosine  plate  is  ample. 

Dr.  Xeuhaus  has  made  photographs  of  more  than  <>0  dift'er- 


HG.    65.    PHOTOGRAPH  OF  SNOW  CRYSTALS. 
BY  JAS.  LEADBEATF.R. 

ent  ice  and  snow  specimens.  The  pictures  of  ice  crystals  much 
resemble  those  of  hoar  frost,  deposited  after  a  cold  winter's 
night.  Of  snow  crystals,  the  doublets  are  highly  interesting, 
two  crystals  merged  into  one,  and  those  having  passed  through 


PHOTOGRAPH  1C     AMUSEMENTS. 


77 


a  moist  stratum  of  air,  when  microscopic  drops  of  water  will 
freeze  into  the  hexagonal  form,  giving  the  picture  an  appear- 
ance very  much  resembling  cauliflower. 

The  most  difficult  question  of  all  remains,  the  cause  of  the 
various  forms  of   the   hexagonal  crystals,   which  frequently 


FIG.    66.    PHOTOGRAPH    OF    FROST.       BY    JAS.    LEADBKATKK. 

change  in  the  same  snowfall.  Instead  of  advancing  a  new 
hypothesis,  says  Ilellmann,  it  is  better  to  acknowledge  thaj 
we  know  nothing  positively  in  regard  to  this.  In  our 
knowledge  of  the  form  and  structure  of  the  snow  we  have 
made  great  advance  since  the  time  of  K-  pier,  but  after  nearly 


78  PHOTOGRAPHIC     AMUSEMENTS. 

four  hundred  years,  we  cannot  give  a  satisfactory  answer  to 
his  question,  "  Cur  autem  sexangula  C ' 

We  do  not  know  the  special  conditions  which  determine  the 
formation  of  one  or  the  other  form  of  snow  crystals.  AVe  have 
found  that  a  low  temperature  favors  the  formation  of  tabular 
crystals ;  a  higher  temperature  the  star  shaped  crystals ;  the^e 
groups  show  such  multifarious  forms  that  it  is  necessary  to 
seek  for  other  causes  which  influence  the  formation  of  snow 
figures.  There  is  offered  here  a  broad  field  for  new  investiga- 
tion and  study. 

We  give  a  reproduction  Fig.  <>4  of  a  photograph  of  a  curious 
group  of  crystals.  Some  water  had  been  left  in  a  1 0  x  8  dish  on  a 
winter  day,  and  a  film  of  ice  was  seen  floating  on  the  surface. 
The  formation  of  the  crystals  and  the  floral  design  were  so 
beautiful  that  it  was  taken  out  and  photographed.  The  delicate 
lace-like  edging  of  the  glacial  tracery  is  the  result  of  the 
deposition  of  hoar  frost  while  draining  off  the  water  from  the 
ice  leaves  and  flowers  and  fixing  the  image  in  the  camera. 

Quite  recently  Mr  Jas.  Leadbeater  has  favored  us  with  some 
account  of  his  beautiful  work  in  this  his  fascinating  branch  of 
photography,  some  samples  of  which  are  here  given.  He  first 
makes  his  windows  perfectly  clear  and  waits  for  a  keen  frost. 
The  camera  is  inside  the  room  and  a  dark  cloth-covered  board 
ivas  placed  on  the  outside,  lean'ng  against  a  low  balcony  of 
ivood.  The  exposure  varies  with  the  thickness  of  the  crystals 
Tom  two  to  ten  seconds,  principally  with  a  very  small  stop. 
Cwo  reproductions  of  his  pictures  will  be  found  on  pp.  76-77. 


PHOTOGRAPHING  INK  CRYSTALS. 
THE  study  of  crystallization  is  undoubtedly  an  interesting 
and  fascinating  one,  and  photography  may  be  made  to  play 
an  important  part  in  securing  permanent  records  of  these 
curious  formations.  If  a  drop  of  water  containing  a  salt  be 
allowed  to  drop  upon  a  glass  plate,  it  will  upon  evaporation, 
deposit  crystals  of  various  kinds.  In  a  recent  article  in  L<i 
Nature,  by  Dr.  E.  Trouessnrt,  a  description  is  given  of  the 


PHOTOGRAPHIC    AMUSEMENTS. 


70 


beautiful  cry  stall  ic  forms  deposited  by  a  drop  of  ink  on  evap- 
oration. The  article  is  translated  in  the  Literary  Digext, 
from  which  we  make  extracts  : 

"  Take  a  sheet  of  glass,  deposit  on  it  a  drop  of  ink  and 
spread  the  drop  a  little,  uniformly ;  let  it  'dry  for  a  lew  min- 
utes; then  examine  with  a  microscope,  magnifying  from  50 
to  200  diameters,  and  you  \\\\\  be  able  to  see  the  flowers  of  ink 
in  process  of  formation  under  your  eyes  ;  that  is  to  say,  regular 
white  crystal  particles  which  detach  themselves  from  the 
black  or  violet  medium,  and  arrange  themselves  so  as  to  form 
regular  figures. 

'•'If  your  are  pressed  for  time,  this  beautiful  result  will 
easily  be  obtained  by  passing  the  sheet  of  glass  over  a  spirit 
lamp  or  a  candlo  to 
evaporate  the  moisture. 
The  crystals  will  then 
be  smal'er  and  more 
numerous,  presenting 
the  appearance  of  a 
dark  firmament  densely 
sprinkled  with  bright 
silvery  stars.  But  if 
you  have  patience  to 
wait  for  evaporation 
without  heat,  you  will 
obtain  larger  crystals 
ofmore  varied  forms, 
arranging  themselves  as 
crosses,  flowers,  etc. 

"  These  crystals  may 
be  varied  indefinitely 
by  modifying  the  con- 
pitions  of  evaporation, 
adding  more  ink,  etc. 
But  it  in  quite  possible  that  different  inks  will  give  different 
results.  The  inks  I  use,  like  all  the  other  inks  in  use,  have  a 
basis  of  sulphate  of  iron  and  gallic  acid. 


From  "  The  Lite 
FIG.    67.    INK-CRYSTALS,     AS    SEEN  THROUGH 
MICROSCOPE. 


80  PHOTOGRAPHIC    AMUSEMENTS. 

;i  Bv  allowing  tlie  evaporation  to  proceed  ulowly,  it  is  quite 
easy  to  watch  the  formation  of  the  crystals.  The  geometrical 
figures  are  more  or  less  perfect  cubes,  pyramids,  lozenges. 
crosses,  needles,  etc.,  the  pyramids  beingformed  by  cubes  super- 
posed one  on  the  other,  as  in  the  pyramids  of  Egypt.  The 
•flowers  in  our  illustration  are  formed  by  the  union  of  crystals, 
each  of  which  represents  the  petals  or  sepals  of  a  flower.  The 
Maltese  cross — the  crucifer  or  four-leafed  flower — ir>  the  normal 
regular  form,  but  multiples  of  four  frequently  occur,  by  the 
formation  of  new  crystals  in  the  intervals;  and  also  by  the 
accidents  of  crystallization,  we  get  flowers  of  three  and  five 
petals,  resembling  Rirfriacew,  lilies,  orchids,  violets,  etc.*' 


P1NHOLE  PHOTOGRAPHY. 

ALTHOUGH  a  lens  is  the  most  inrportant  part  of  the  photog- 
rapher's apparatus,  it  is  not  absolutely  necessary  for  the  pro- 
duction of  photographs.  Very  good  pictures  can  be  made  by 
means  of  a  pinhole.  Remove  the  lens  from  the  camera,  and 
insert  in  its  place  a  sheet  of  thin,  hard  cardboard.  In  the 
centre  make  a  tiny  hole  with  a  fine-pointed  needle  made  red- 
hot.  Another  method  is  to  make  a  large  hole  in  the  card- 
board, and  paste  over  it  a  piece  of  tinfoil  and  make  the  pin- 
hole  in  this.  The  essential  point  is  that  the  hole  be  perfectly 
round  without  any  burring  at  the  edges.  The  most  perfect 
arrangement  can  be  obtained  by  getting  a  watchmaker  to  drill 
a  fine  hole  through  a  piece  of  sheet  metal.  The  diameter  of 
the  hole  should  not  be  greater  than  the  one-fiftieth  of  an  inch. 
Whatever  is  used,  cardboard  or  metal,  it  should  be  blackened 
till  over  to  prevent  the  reflection  of  light  in  the  camera.  The 
focusing  glass  should  be  brought  within  about  6  inches  of  the 
hole.  Owing  to  the  small  amount  of  light  admitted,  focusing 
is  very  difficult,  It  can  be  done  by  pointing  the  camera 
towards  the  sun  and  focusing  its  image.  For  the  same  reason 
the  exposure  is  very  long,  ranging  from  ten  minutes  to  half 
an  hour ;  it  is,  in  fact,  difficult  to  over-expose. 


Negative  by  F.  C.  Lambert.  "  From  Anthony's  International  Annual,  1894. 

FU;.    68.    P1XHOLK    PHOTOGRAPHY. 


PHOTOGRAPHIC     AMUSEMENTS. 


83 


It  is  usually  stated  that  no  focusing  is  required,  the  larger 
the  plate  the  wider  the  angle,  but  according  to  Prof.  Picker- 
ing, 12  inches  is  the  maximum  distance  for  sharp  work. 

Peculiar  diffused  effects  can  be  obtained  by  using  a  tine  sli*; 
in  place  of  the  pinholc.  The  picture  shown  on  page  82  is  ai? 
example. 


FREAK  PICTURES  BY  SUCCESSIVE  EXPOSURES. 

WE  have  already  described  the  various  remarkable  photo 
graphic  pictures  which  may  be  taken  by  successive  exposures 
with  the  same  individual  in  different  positions  against  a 
perfectly  black  and  non-actinic  background.  This,  however, 
is  not  easily  obtained, 
and  a  French  photo- 
grapher, M.  I>racq,  has 
invented  an  ingenious 
attachment  to  a  camera 
by  which  the  same 
effects  may  be  obtained 
with  any  background 
and  under  the  ordinary 
conditions  of  amateur 
photography.  The 
following  description 
is  from  La  Nature 
translated  in  the  Pop- 
ular Science  News, 

The  apparatus,  Fig. 
T<>,  is  attached  to  the 
back  of  the  camera, 
and  consists  of  a  frame 
suitable  for  holding  FIG  7o 

the     usual     ground 

glass,  or  plate  holder.  Directly  in  front  of  the  plate  holder  is 
placed  an  opaque  screen  perforated  with  a  horizontal  slit  the 
width  of  the  photographic  plate  used.  By  means  of  a  screw 


PHOTOGRAPHIC     AMUSEMKNTS. 


and  a  crank  tlie  screen  with  its  o])ening  may  be  made  to  move 
up  and  down  befo/e  the  plate,  thus  allowing  all  parts  of  it  to 
l>e  successively  exposed.  A  pointer  connected  witli  the  screen 
.-hows  the  position  of  the  slit  at  any  time  when  it  is  covered 
by  the  plate  holder. 

The  operation  of  the  apparatus  is  evident  from  the  above 
description.  To  take,  the  picture  illustrated  in  Fig.  71.  for 
instance,  the  table  wi.h 
the  boy  upon  it  is 
placed  in  the  proper 
position  and  supported 
by  planks,  another 
table,  or  in  any  con- 
venient way.  After 
properly  focusing  it  on 
the  ground  glass,  the 
screen  is  screwed  down 
till  the  opening  is  at 
the  bottom  of  the  cam- 
era, and  the  plate 
holder  being  placed  in 
position,  the  slide  is 
drawn  and  the  handle 
turned  till  the  indica- 
tor shows  that  the  open- 
ing has  reached  a  point 
corresponding  to  the 
image  of  the  bottom  of 
the  table  on  the  plate.  ''  '  '' 

The  slide  is  then  replaced  in  the  plate  holder,  the  table  and  its 
support  removed,  and  the  boy  placed  in  the  second  position, 
and  the  exposure  continued  by  screwing  up  the  screen 
until  the  entire  plate  has  been  impressed  with  the  double 
image,  which,  upon  development,  appears  as  shown  in  the 
illustration. 

The  perforated  screen  may  also  be  made  to  move  horizon- 
tally as  well  as  veriically  across  the  plate,  and  by  a  combination 


PHOTOGRAPHIC     AMTSKMENTS.  85 

of  the  two  directions  the  same  individual  may  be  taken  four 
or  more  times  in  different  positions  in  the  same  photograph. 
Many  amusing  and  astonishing  effects  may  be  obtained  by  this 
simple  means,  which  will  readily  suggest  themselves  to  any 
practical  photographs  r. 


WIDE-ANGLE  STUDIES. 

BY  the  use,  or  rather  the  abuse,  of  a  lens  having  a  very  wide 
angle,  say,  100  degrees,  some  very   amusing  effects  can  be 


Copyright,  1894,  by  W.  J.  Demorest 

FIG.    72.    A    PHOTOGRAPHIC    FEAT. 

obtained.     By  apparent  exaggeration  of  perspective — we  say 
apparent  advisedly,  for  if  a  view  made  with  one  of  these 


PHOTOGRAPHIC     AMUSEMENTS. 


FIG.    73.    A    WIDE-ANGLE    STUDY. 

lenses,  say  of  5  inches  focus,  be  viewed  by  the  observer  at  a 
distance  of  5  inches  from  the  eye,  the  perspective  will  appeal- 
correct  ;  but,  of  course,  this  is  never  done  under  ordinary  cir- 
cumstances. Every  person,  unless  extremely  short-sighted^ 
will  hold  a  photograph  at  a  distance  from  the  eye  of  about  \'l 
or  Irt  inches. 

The  effect  of  using  a  wide-angle  lens  under  ordinary  condi- 
tions is  to  make  objects  in  the  foreground  appear  ridiculously 
large,  while  those  in  the  background  have  a  diminished 
appearance.  Fig.  72  is  an  example  of  this ;  it  is  hardly  neces- 
sary to  observe  that  the  gentleman's  pedal  extremities  were 
aot  so  gigantic  as  represented  in  the  photograph.  Fig.  73  is 
another  and  scarcely  less  painful  example  of  this  exaggeration. 


1'EOTOGRAPllIC     AMUSEMENTS. 


In  the  Practical  Photographer^  some  time  ago,  it  was 
humorously  suggested  that  sportsmen  could,  by  means  of 
the  camera,  bring  home  apparently  indisputable  evidence  as  to 
their  skill  or  prowess.  Tims,  for  instance,  you  and  your 
friend  Jones  have  been  out  fishing  together,  and  realized  the 
truth  of  the  old  saying  about  anglers — ?'.<?.,  "  a  worm  at  one 
end  of  a  rod  and  a  fool  at  the  other."  You  have,  however, 
managed  to  catch  a  fish  (any  sort  will  do)  about  the  dimensions 
of  a  good-sized  sprat.  It  is  the  usual  custom  of  anglers,  I 
believe,  to  view  their  captures  through  magnifying-glasses 
before  discoursing  upon  them.  A  better  plan,  however,  is  to 
photograph  your  fish,  and  then  there  can  be  no  dispute  what- 


K1G.    74.  FIG.    75. 

ever,  because  it  is  the  popular  belief  that  photography  cannot 
lie.  However,  all  that  is  necessary  is  to  hang  the  fish  in  front 
of  the  camera  to  the  bough  of  a  tree,  we  will  say,  with  a  piece 
of  black  thread.  You  then  retire  several  paces  behind  it, 
holding  up  your  arm  as  if  you  were  holding  up  the  fish. 
Your  friend  will  then  adjust  the  camera  so  that  the  fish  just 
comes  under  your  hand,  focuses,  places  a  very  small  stop  on, 
so  as  to  get  everything  sharply  defined,  and  makes  the  neces- 
sary exposure.  Thus  it  is  possible,  with  a  little  trouble,  to 
obtain  everlasting  records  of  your  marvelous  day's  sport,  for 
you  can  easily  make  yourself  appear  to  be  holding  a  fish  of 
gigantic  proportions — say,  5  ft.  long,  or  so.  Fig.  74,  75. 


$8  PHOTOGRAPHIC    AMUSEMENTS. 

Our  illustrations  are  from  "  Photographic  Pastimes  "  by  Her- 
man Schauss. 

"With  a  very  wide  angle  lens  it  is  also  possible  to  make  a 
photograph  of  a  little  suburban  garden,  and  it  will  appear  to 
resemble  a  park  or  palace  grounds.  This  is  a  trick  often 
adopted  by  auctioneers  and  estate  agents,  so  that  in  viewing 
photos  of  property,  it  is  really  impossible  to  form  any  safe 
idea  regarding  the  place  itself. 


CONICAL   PORTRAITS. 

AMUSING  caricatures  may  be  obtained  by  deforming  the 
sensitive  surface  of  the  negative.  The  accompanying  conical 
portrait  is  one."* 


FIG.  76. 

To  depict  the  features  of  a  person  on  a  paper  cone  is  not  an 
easy  matter ;  whilst  to  obtain  them  by  photography  is  a  toler- 
ably simple  operation. 

*"  From  "  Les  Recreations  Photographique." 


PHOTOGRAPHIC    AMUSEMENTS. 


89 


FIG.  77. 


FIG.    78. 


90  PHOTOGRAPHIC     AMUSEMENTS. 

Having  glued  on  the  interior  face  of  a  plate  holder  (the  slide 
being  drawn),  in  the  place  of  a  sensitive  plate  a  cone  made  of 
strong  card  board,  superpose  on  it  an  unexposed  film,  which 
has  been  cut  to  the  form  of  the  development  of  the  cone  (as 
shown  in  Fig.  77)  the  film  is  secured  by  means  of  two  or 
three  pins.  Having  focused  on  a  point  of  the  subject  in  a 
middle  plane,  the  ground  glass  is  afterwards  drawn  back  a  dis- 
tance equal  to  half  the  height  of  the  cone,  taking  care  not  to 
derange  either  the  subject  or  the  objective.  To  obtain  a  sharp 
image  a  very  small  diaphragm  must  necessarily  be  used,  but 
with  a  rapid  plate  and  good  light  that  is  of  little  moment. 
The  camera  should  be  placed  in  the  dark  room,  the  lens  bein<r 
inserted  in  a  hole  in  the  partition  just  its  size,  and  the  subject 
in  the  adjoining  apartment  opposite  the  lens — this  because  the 
cone  will  not  allow  the  plate-holder  to  be  closed  by  the  slide. 

Fig.  76  shows  the  arrangement  of  the  camera  and  holder. 
The  exposure  made,  the  film  is  developed,  as  usual.  The 
negative  gives  a  print  deformed  as  shown  in  Fig.  76.  The 
original,  if  not  grotesque  appearance  of  the  head  disappears 
when  the  print  is  rolled  into  a  conical  form  and  the  observer 
places  his  eye  in  the  prolongation  of  the  axis  of  the  cone. 
Fig.  78  shows  the  head  as  seen  under  these  conditions. 


MAKING  DIRECT  POSITIVES  IN  THE  CAMERA. 
Prepare  a  saturated  solution  in  water  of  the  crystals  of 
thiosinamine,  and  add  from  two  to  eight  minims  of  it  to  an 
ordinary  pyro  or  eikonogen  developer.  Expose  rather  less 
than  usual.  The  effect  of  this  addition  to  the  developing  agent 
is  an  entire  reversal  of  the  image,  a  positive  instead  of  a  nega- 
tive being  obtained.  Ammonia  will  assist  the  reversal.  Col- 
onel Waterhouse,  the  discoverer  of  this  process,  recommends 
in  some  cases  the  plates  being  subjected  to  a  bath  of  5  per 
cent,  nitrate  acid  and  3  per  cent,  potassium  bichromate  before 
exposure,  followed  by  a  thorough  washing. 


PHOTOGRAPHIC    AMUSEMENTS. 


91 


INSTANTANEOUS   PHOTOGRAPHY. 

IN  THE  very  earliest  days  of  photography  this  term  was  ap- 
plied to  what  would  now  be  considered  very  slow  work  indeed. 
We  now  usually  apply  this  term  when  the  exposure  does  not 
exceed  one  second.  In  some  cases  this  only  amounts  to  the 
one-thousandth  part  of  a 
second.  This  exceedingly 
brief  exposure  is  usually 
given  to  the  plate  by  means 
of  a  suitably  constructed 
shutter. 

The  immense  strides  that 
have  recently  been  made  in 
instantaneous  photography, 
owing  chiefly  to  the  advent 
of  the  dry-plate  process, 
have  caused  photography  to 
become  useful  to  almost 
every  branch  of  science. 

To    Muy bridge  and    An- 
schiitz   we    are   greatly   in- 
debted for  the  strides  made 
in  instantaneous   photogra- 
phy.   These  gentlemen  have 
succeeded  in  photographing 
moving  objects  hitherto  con- 
sidered impossible  to  be  pho- 
tographed   G  alloping  horses,  swift-flying  birds,  and  even  bullets 
and  cannon  balls  projected  from  guns  have  been  successfully 
photographed,  showing  even  the  little  head  of  air  driven  along 
in  front  of  the  bullet. 

Both  Muybridge  and  Anschiitz  hare  also  succeeded  in  mak- 
ing series  oi:  twenty-four  or  more  photographs  of  a  horse 
during  the  time  it  makes  a  single  leap,  and  thus  illustrate  its 
every  movement.  The  value  of  these  and  other  possibilities 
with  the  camera  for  artists  cannot  be  overestimated.  Its  aid 


FIG.  79. 


92  PHOTOGRAPHIC     AMUSEMENTS. 

to  meteorologists  in  photographing  the  lightning,  to  astrono- 
mers in  stellar,  lunar  and  solar  photography,  and  to  all  othtr 
sciences  would  require  a  work  as  large  as  this  to  describe. 


By  Lt.  Joachim  Ste 
FIG.    80.    INSTANTANEOUS   STUDIES. 

For  the  making  of  instantaneous  pictures  a  large  number  of 
suitable  cameras  have  been  devised.  In  most  of  these  the  lens 
is  a  very  rapid  one,  and  in  some  cases  so  arranged  that  all 
objects  beyond  a  certain  distance  are  in  focus.  With  an  in- 
stantaneous came1  a  a  secondary  image  is  necessary,  so  that  the 
right  second  can  be  judged  for  making  the  exposure.  This 
is  usually  produced  by  a  finder.  In  making  instantaneous 
exposures  the  following  tables  may  be  useful : 

Approximate  distance 
per  second. 

A  man  walking  3  miles  per  hour  moves 4%  feet  per  second 

A  man  walking  4  miles  per  hour  moves 6 

A  vessel  traveling  at  9  knots  per  hour  moves. ...  Is 
A  vessel  traveling  at  12  knots  per  hour  moves. . .  i9 
A  vessel  traveling  at  17  knots  per  hour  moves. . .  ,28 
A  torpedo  boat  traveling  at  20  knots  per  hour 

moves ^3") 

A  trotting  horse 36 

A  galloping  horse  (1,000  yards  per  minute) \  50^- 

An  express  train  traveling  at  38  miles  an  hour ...      59  ('  •  * 


^^-i^^^jlti 


FIG.    8l.    "A    RISE    IN    THE    WORLD."  BY    THE    MARQUIS    DE    ALFARRAS. 


94:  PHOTOGEAPHIC    AMUSEMENTS. 

Approximate  distance 
per  second. 

Flight  of  a  pigeon  or  falcon 61  feet  per  second. 

Waves  during  a  storm 65 

Express  train  (60  miles  an  hour) 88 

Flight  of  the  swiftest  birds 294 

A  cannon  ball 1,625 

An  object  moving — 


1  milt 
2 
5 
6 

8 
9 
10 
11 
12 
15 
20 
25 
30 
35 
40 
45 
50 
55 
60 
75     • 
100 
125 
150 
200 

per  hour 

moves  1  1/2  feet 
3 

per  sec 

ond 

•    •                        7/4 

...     9 

10>£ 

12 

13 

14  1/ 

15 

17^ 
22 

£9 

£7 

44 
,51 
1  59 
66 
73 

80 
88 
110 
147 
1£3 

220 

...257 

"With  these  tables  it  will  be  very  easy  to  find  the  distance 
that  the  image  of  the  object  will  move  on  the  ground  glass 
screen  of  the  camera.  To  do  this,  multiply  the  focus  of  the 
lens  in  inches  by'  the  distance  moved  by  the  object  in  the 
second,  and  divide  the  result  by  the  distance  of  the  object  in 
inches. 

Example,  find  the  movement  of  the  image  of  an  object 
moving  50  miles  per  hour  at  a  distance  of  100  yards  with  a 
lens  of  9-inch  focus. 

Q  X  876  =  7,884  -*-  3,600  =  2i  inches  per  second. 
We  must  also  find  out  the  speed  of  the  shutter  required  to 
take  the  object  in  motion,  so  that  it  will  appear  as  sharply 
defined  as  possible  under  the  circumstances.     To  do  this  the 


PHOTOGRAPHIC     AMUSEMENTS.  95 


circle  of  confusion  m*7st  not  exceed  y^th  'of  an  inch  in 
diameter.  We  therefore  divide  the  distance  of  the  object  by 
the  focus  of  lens  nnltiplied  by  100,  and  then  divide  the 
rapidity  of  the  object  in  inches  per  second  by  the  result 
obtained.  This  will  give  the  longest  exposure  permissible  in 
the  fraction  of  a  second.  For  example,  we  require  to  know 
the  speed  of  a  shutter  required  to  photograph  an  express  train 
travelling  at  the  rate  of  _50  miles  per  hour  at  a  distance  of  50 
yards  with  an  8|  inch  focus  lens. 

The  train  moves  876  inches  per  second., 

i,  800  distance  in  inches  -f-  (S$  X  100)  =  1,800  -=-  850  =  f  5. 

876  X  17 
876  speed  of  object  per  second  -r-  |S  =  --  =  413  =  ^{^  second. 

36 

Given  the  rapidity  of  the  shutter,  and  the  speed  of  the 
moving  object,  we  require  to  find  the  distance  from  the  object 
the  camera  should  be  placed  to  give  a  circle  of  confusion  less 
than  Y^-g-tli  of  an  inch.  Multiply  100  times  the  focus  of  the 
lens  by  the  space  through  which  the  object  would  pass  during 
the  exposure,  and  the  result  obtained  will  be  the  nearest  pos- 
sible distance  between  the  object  and  the  camera.  For 
example,  we  have  a  shutter  working  at  one-fiftieth  of  a 
second,  and  the  object  to  be  photographed  moves  at  the  rate 
of  50  miles  per  hour.  How  near  can  a  camera  fitted  with  a 
lens  of  8£  inch  focus  be  placed  to  the  moving  object. 

Object  moving  50  miles  per  hour  moves  per  second  876 
inches,  and  in  the  one-fiftieth  part  of  a  second  it  moves  17.52 
inches,  so  that  — 

8i  X  17.52  =  8.5  X  roo  X  17.52  =  14,892  inches  =  413  yards. 
Instantaneous  photography  can  only  be  successfully  per- 
formed in  very  bright  and  actinic  light,  and  should  never  be 
attempted  on  dull  days,  as  under-exposure  will  be  the  inevit- 
able result.  In  developing  it  is  necessary  to  employ  a  strong 
developer  to  bring  up  the  detail.  Some  operators  make  use 
of  an  accelerator  for  this  purpose,  but  it  is  not  to  be  recom- 
mended ;  the  simplest  is  a  few  drops  of  hyposulphite  of  solu- 
tion added  to  about  10  ounces  of  water.  In  this  the  plate  is 
bathed  for  a  few  seconds  previous  to  development. 


0>@  PHOTOGRAPHIC     AMUSEMENTS. 

The  following  is  a  table  by  H.  E.   Tolman   showing   dis- 
placement on  ground  glass  of  objects  in  motion: 


Distance  on 

Ground  Glass, 

in  Inches 

Same  with 

Same  with 

Miles  per 
Hour. 

Feet  per 
Second. 

with  Object  30 
Feet  Away. 

Object  60  Feet 
Away. 

Object  120 
Feet  Away. 

1 

1H 

.29                       .15                     .073 

2 

3 

.59                       .29                     .147 

3 

^A 

.88 

.44                     .220 

4 

6 

1.17 

.59 

.993 

5 

^Yz 

1.47 

.73 

.367 

6 

9 

1.76 

.88 

.440 

7 

IOK 

2.05 

.03 

.513 

8 

12 

2.35 

.17                    .587 

9 

13 

2.64 

.32                     .660 

10 

14M 

2.93 

.47 

.733 

11 

16 

3.23 

.61 

.807 

12 

17^ 

3.52 

.76 

.880 

13 

19 

3.81 

191 

.953 

14 

20^ 

4.11 

2.05 

1.027 

15 

22 

4.40 

2.20 

1.100 

20 

29 

5.87 

2.93 

1.467 

25 

37 

7.33 

3.67 

1.833 

30 

44 

8.80 

4.40 

2.200 

35 

51 

10.27 

5.13 

2.567 

40 

59 

11.73 

5.97 

2.933 

45 

66                       13.20 

660 

3.300 

50 

73                       14.67 

7.33 

3.667 

55 

80                       16.13 

806 

4.033 

60 

88 

17.60 

880 

4.400 

75 

110 

22.00 

1100 

5.500 

100 

147 

29.33 

14.67                   7.333 

125 

183                       36.67 

1833                   9.167 

150 

220                      44.00 

2-2.00                 11.000 

98 


PHOTOGRAPHIC     AMUSEMENTS. 


ARTIFICIAL  MIRAGES  BY  PHOTOGRAPHY. 
SOMK  time  ago  a  photographer  made  quite  a  sensation  by  the 
publication  of  a  fine  photograph  of  a  mirage,  a  phenomenon, 
frequently  observed  on  the  plains  of  Egypt.  The  wily  pho- 
tographer had,  however,  never  traveled  away  from  this 
country.  He  had  simply  produced  the  effect  by  artificial 
means.  'A  method  of  making  these  pictures  was  given  some 
time  ago  in  the  Scientific  American.  A  very  even  plate  of 
sheet  iron  is  taken  and  placed  horizontally  on  two  supports. 
The  plate  is  heated  uniformly  and  sprinkled  with  sand. 
Then  a  small  Egyptian  landscape  is  arranged  at  one  end  of  the 
plate,  aud  the  photographic  instrument  is  so  placed  that  the 
visual  ray  shall  properly  graze  the  plate.  A  sketch  of  the 
arrangement  is  shown  in  Fig'  82. 


THE  PHOTO-CHROMOSCOPE. 

THIS  instrument  was  devised  by  M.  Paul  Nadar,  the  cel- 
ebrated French  photographer,  but  anyone  can  construct  a 
similar  apparatus.  The  arrangement  is  shown  in  Fig.  83. 

The  slides  A  and  B  B  are  ad- 
justable so  that  any  sized 
picture  can  be  inserted  and 
the  sides  closed  round  it  to 
shut  out  the  light  from  be- 
hind. A  silver  print  un- 
mounted is  made  transparent 
with  vaseline  and  placed  ou 
the  glass.  Pieces  of  paper  of 
various  colors  are  placed  in 
the  reflector,  C,  and  by  the 
means  all  kinds  of  effects  can 

FIG.  83.   NADAR'SPHOTO-CHROMO-be     °btained'          A      ^dsCRpe 

SCOPE.  can    be     viewed    as    though 

under  the  pale  reflected  light 

of  the  rising  sun  behind  the  mountain  which  may  be  changed 
gradually  to  the  full  %ht  of  day. 


PHOTOGRAPHIC     AMUSEMENTS.  99 

COMPOSITE  PHOTOGRAPHY. 

THIS  is  a  process  of  combining  a  number  of  images  in  such 
a  way  that  the  result  obtained  is  an  aggregate  of  its  coin- 
ponents.  Francis  Galton  was  one  of  the  first  to  employ  this 
system.  In  the  appendix  to  his  "  Inquiries  into  Human 
Faculty,"  Galton  has  described  the  very  elaborate  and  perfect 
form  of  apparatus  which  he  has  used  in  his  studies ;  but 
entirely  satisfactory  resulrs  may  be  obtained  with  much  more 
simple  contrivances.  The  instrument  used  by  Prof.  Bow- 
ditch*  is  merely  an  old-fashioned  box  camera,  with  a  hole'> 
cut  in  the  top  for  the  reception  of  the  ground-glass  plate  upon 
which  the  image  is  to  be  reflected  for  purposes  of  adjustmeir. 
The  reflection  is  effected  by  a  mirror  set  at  an  angle  of  45 
degrees  in  the  axis  of  the  camera,  and  pivoted  on  its  upper 
border  so  that,  after  the  adjustment  of  the  image,  the  mirror 
can  be  turned  against  the  upper  side  of  the  box,  and  the  image 
allowed  to  fall  on  the  sensitive  plate  at  the  back  of  the  camera. 
The  original  negatives  are  used  as  components,  and  are  placed 
in  succession  in  a  small  wooden  frame  which  is  pressed  by 
elliptical  springs  against  a  sheet  of  gla:-s  fastened  vertically  in 
front  of  the  camera.  By  means  of  this  arrangement  it  is 
possible  to  place  each  negative  in  succession  in  any  desired 
position  in  a  plane  perpendicular  to  the  axis  of  the  camera, 
and  thus  to  adjust  it  so  that  the  eyes  and  the  mouth  of  its  optical 
image  shall  fall  upon  the  fiducial  lines  drawn  upon  the  groin  d- 
glass  plate  at  the  top  of  the  camera.  An  Argand  gas  burner 
with  a  condensing  lens  furnishes  the  necessary  illumination. 

"For  our  amateur  photographers,"  writes  Prof.  Bowditch, 
"who  are  constantly  seeking  new  worlds  to  conquer,  the 
opportunity  of  doing  useful  wTork  in  developing  the  possibilities 
of  composite  photography  ought  to  be  very  welcome.  Xot 
only  will  the  science  of  ethnology  profit  by  their  labors,  but 
by  making  composites  of  persons  nearly  related  to  each  other, 
a  new  and  very  interesting  kind  of  family  portrait  may  be 
produced.  The  effect  of  occupation  on  the  physiognomy  may 

*  From  McCture  s  Magazine,  September,  1894. 


From  McClure's  Magazine. 


Photographed  by  Prof.  Bowditeh. 
FIG.   84.    PLATE    I.       TWELVE  BOSTON  PHYSICIANS  AND  THEIR  COMPOSITE  PORTRAIT. 
THE  COMPOSITE  IN  THE  CENTRE. 


PHOTOGRAPHIC     AMUSEMENTS.  101 

also  be  studied  in  this  way.  By  comparing,  for  instance,  the 
composite  of  a  group  of  doctors  with  that  of  a  group  of 
lawyers,  we  may  hope  to  ascertain  whether  there  is  such  a 
thing  as  a  distinct  legal  or  medical  physiognomy. 


TELE-PHOTO    PICTURES- 

DURING  the  last  few  years  many  so-called  tele-photographic 
lenses  have  been  placed  upon  the  market.  These  instruments 
enable  one  to  photograph  objects  in  the  distance  and  obtain 
images  very  much  larger  than  those  given  by  the  ordinary 
photographic  lens.  These  lenses  are,  however,  very  costly. 
In  an  article  by  Mr.  O  G.  Mason,  published  in  THE  PHOTO- 
GRAPHIC TIMES  for  June,  1895,  that  gentleman  describes  a 


FIG.   85.    CAMERA  WITH    OPERA    GLASS    ATTACHED. 

simple  method  of  obtaining  tele-photo  pictures  by  replacing 
the  ordinary  lens  witli  an  opera  glass.  lie  says  :  "  Several 
devices  have  been  brought  forward  with  a  view  of  decreasing 
the  expense  of  tele-photo  lenses,  but  I  have  seen  no  others  so 
satisfactory,  cheap  and  simple,  as  the  utilization  of  the  ordinary 
opera  glass  for  the  camera  objective,  which  was  described, 
figured  and  finally  constructed  for  me  about  a  year  ago  by  Mr. 


VHOTOGRAPHIO     AMUSEMENTS. 


Alvin  Lawrence,  the  horologist  of  Lowell,  Mass.  An  opera  or 
Held  glass  is  a  convenient  and  useful  instrument  in  the  kit  of 
an  y  touring  photographer  ;  and  when  he  can  easily  and  quickly 
attach  it  to  his  camera-box  as  an  objective  its  great  value  is  at 
once  made  apparent.  Mr.  Lawrence's  method  of  doing  this 
at  little  cost  is  a  good  illustration  of  Yankee  ingenuity.  It  is 
not  claimed  that  such  a  device  will  do  all  or  as  well  as  a  tele- 


no.   86.   CAMERA   SHOWING    ARRANGEMENT   FOR 
OPERA    GLASS. 

photographic  lens  costing  ten  times  as  much ;  but  it  will  do 
far  more  than  most  people  could  or  would  expect.  Of  course 
the  field  is  quite  limited,  which,  in  fact,  is  (he  case  with  the 
most  expensive  tele-photographic  objective,  and  the  sharpness 
of  the  image  depends  much  upon  the  quality  of  the  opera  or 
field  glass  used.  The  accompanying  views  show  the  relative 
size  and  character  of  image  by  a  forty-five  dollar  rapid  rectil- 


PHOTOGRAPHIC     AMUSEMENTS. 


103 


inear  view  lens  and  a  four-dollar  opera  glass  attached  to  the 
same  camera  and  used  at  the  same  point.  The  other  illustra- 
tions show  the  camera  as  used  and  the  method  of  opera  glass 
attachment  t  j  the  lens-board.  It  will  be  seen  that  the  eye  end 


FIG.    87.    VIEW    TAKEN    WITH    OPERA    GLASS. 

of  the  opera  glass  is  placed  against  the  lens-board,  one  eye- 
piece in  a  slight  depression  around  the  hole  through  the 
centre,  and  by  a  quarter  turn  the  brace  between  the  two  bar- 
rels passes  behind  a  projecting  arm  on  the  board,  the  focusing 


PHOTOGRAPHIC    AMUSEMENTS. 


barrel  resting  in  a  slot  in  this  arm,  where  it  is  firmly  held  in 
position  Ivy  friction  alone. 

As  opera  glasses  are  usually  constructed  for  vision  only,  no 
attempt  is  made  by  the  optician  to  make  correction  for  secur- 
ing coincidence  of  foci  of  the  visual  and  chemical  rays  of  light 


FIG.    88.    VIEW    TAKEN     FROM     SAME     SPOT     WITH     AN     ORDINARY 
VIEW    LENS. 

as  in  the  well-made  photographic  objective.  Hence,  it  is  often 
found  that  the  actinic  focus  falls  within,  or  is  shorter  than,  the 
visual.  When  this  is  the  case,  the  proper  allowance  is  easily 
made  after  a  few  trials. 


DrC.  Theron  v.  Engel, 

•Mit'tv  I'i-eases  of  Women. 
DAVENPORT,          -        IOWA. 


PHOTOGRAPHIC     AMUSEMENTS.  105 

LIGHTNING    PHOTOGRAPHS. 
THE  method  of  making  photographs  of  lightning  flashes  is 


FIG     89.    PHOTOGRAPH    OF    LIGHTNING    MADE  AT  BLUE    HILL. 

very   simple.      The   camera   is  focused   for    distant   objects. 


106 


PHOTOGRAPHIC     AMUSEMENTS. 


During  a  thunderstorm  the  camera  is  pointed  in  the  direction 
of  the  flashes,  a  plate  is  inserted,  the  cap  is  removed  from 
the  lens,  and  as  soon  as  a  flash  takes  place  the  lens  is  covered 
up  and  the  plate  is  ready  for  development.  To  avoid  halation 
a  backed  or  non-halation  plate  should  be  used. 


'PHOTOGRAPHING  FIREWORKS. 

PHOTOGRAPHS  of  pyrotechnical  displays  can  also  be  made  at 
night.  The  method  of  procedure  is  the  same  as  described  for 
photographs  of  lightning.  The  camera  is  focused  for  distant 
objects  and  the  lens  pointed  towards  the  place  where  the  dis- 
charge takes  place.  Fig.  90. 


DOUBLES. 

SOME  very  amusing  pictures  can  be  made  by  double  expo- 
sure.    For  instance,  Fig  91  represents  a  man  playing  cards 


FIG.  91.    A    DOUBLE.       BY    H.    G.    READING. 

with  himself.     A  method  of  making  these  is  thus  described  by 
W.  J.  Hickmott  in  "  The  American  Annual  of  Photography 

for  ]  894  " : 


108 


PHOTOGRAPHIC     AMUSEMENTS. 


Fit  an  open  square  box  into  the  back  of  the  camera,  having 
it  fully  as  large,  or  a  little  larger,  than  the  negatives  you  wish 
to  make.  My  attachment  is  made  for  S  x  10  plates  and  under, 
and  fits  into  the  back  of  a  10  x  12  camera.  In  shape  it  is  like 
Fig.  91,  and  I  will  designate  it  as  A.  The  box  is  about 


FIG.  91. 


FIG.  92. 


FIG.  93. 


3  inches  deep.  AVlien  put  into  the  camera  il  appears  as  in 
Fig.  92.  Now  have  a  plain  strip  of  wood  just  one-half  the  size 
of  the  opening  in  A  like  B,  Fig.  93.  Have 
B  fit  very  nicely  in  A,  at  the  opening  toward 
the  lens,  and  so  that  it  can  be  be  moved 
freely  from  one  side  to  the  other.  It  is 
very  convenient  to  have  a  rabbet  on  the  top 
and  bottom  of  A  so  that  B  can  be  moved 
from  side  to  side  and  maintained  in  any 
position. 

To  make  a  "  Double,"  attach  A  to  the 
camera  as  shown,  put  B  into  its  place  in  the 
opening  in  A,  say  on  the  right-hand  side  as 
you  stand  back  of  your  camera,  thus  cover- 
ing up  the  right-hand  side  of  the  plate  when 
exposure  is  made.  I 'ose  your  subject  on  the 
left-hand  side,  which  will  give  you  an  image 
on  the  right-hand  side  of  your  ground  glass 
and  plate,  draw  the  slide  and  expose,  imme- 
diately returning  the  slide.  This  finishes 
one-half  of  the  operation.  Shift  B  over  to 
FIG<  94'  the  left-hand  side  of  A,  which  will  cover  up 

that  portion  of  the  plate  just  exposed,  pose  your  subject  again, 


PHOTOGRAPHIC    AMUSEMENTS.  109 

but  on  the  left-hand  side,  which  will  give  you  the  image  on 
the  righthand  side  of  the  ground  glass  and  plate,  draw  the 
slide  and  expose  out  for  the  exact  length  of  time  as  at  first. 
On  development,  if  the  exposure  on  both  sides  has  been  cor- 
rect, and  of  equal  length,  a  perfect  negative  will  be  the  result. 

The  camera  must  on  no  account  be  moved  between  the  ex- 
posures, nor  the  focus  changed.  After  making  the  lirst 
exposure  the  correct  focus  for  the  second  is  obtainedby  mov- 
ing the  subject  backward  or  forward  until  an  exact  focus 
is  secured,  and  not  by  moving  the  camera  or  ground  glass. 
The  whole  apparatus  should  be  painted  a  dead  black. 

When  the  attachment  is  in  place  it  will  be  noted  on  the 
ground  glass  that  while  the  strip  B  is  just  one-half  the  size  of 
the  opening  in  A,  it  does  not  cut  off  just  one-half  of  the  ground 
glass,  a  line  drawn  through  the  center  of  which  showing  that 
a  space  in  the  center  of  the  plate  about  one- 
half  an  inch  in  width  receiving  a  double  exposure, 
but  this  is  not  apparent  in  the  finished  negative. 
The  figure  should  be  posed  as  near  the  center  of 
the  plate  as  possible  in  each  instance.  This 
apparatus,  as  described,  is  only  available  for 
making  two  figures.  By  making  1>  narrower,  or 
one-third  of  the  width  of  the  opening  in  A, 
three  figures  may  l.e  made,  using  each  time  a  separate  piece  to 
cover  up  that  portion  of  the  plate  exposed,  and  by  changing 
the  form  of  B,  to  that  shown  in  Fig.  t>3.  four  positions  can 
be  secured. 

Yal  Starnes  describes  *  another  and  still  simpler  method. 
He  says:  Take  a  light  card  mount  and  carefully  cut  from  it  a 
disc  that  will  fit  snugly  inside  the  rim  of  the  hood  of  your 
lens,  resting  against  the  circular  interior  shoulder  (Fig.  90.). 
Cut  from  this,  in  a  straight,  true  line,  a  small  segment 
(Fig.  97,).  The  exact  amount  to  cut  off  you  can  determine 
by  slowly  thrusting  with  one  hand  a  card  with  a  straight 
edge  across  the  lens  hood,  looking  the  while  at  the  ground 
glass ;  when  the  shadow  has  crept  almost  to  the  center  of  the 

*  "  American  Annual  for  1895." 


110 


PHOTOGRAPHIC    AMUSEMENTS. 


focusing  screen,  hold  the  card  firmly  in  place  and  notice 
how  much  of  the  circle  of  the  hood  is  covered  by  it;  cut 
from  your  disc  a  segment  corresponding*  to  the  amount  left 
uncovered.  Don't  let  the  shadow  creep  quite  to  the  center 
of  the  ground  glass,  for  you  might  go  the  least  bit  beyond, 


FIG.  96. 


FIG.  97. 


and  an  unexposed  strip  would  result.  Now  paint  your  disc  a 
dull  black ;  loosen  the  hood  of  your  lens  on  its  threads,  so 
that  it  will  revolve  easily  and  freely,  and  you  are  ready  for 
business. 

Get    your   focus  and   then    place   disc   in   hood   of    lens 
straight  edge  perpendicular  (Fig.  98).     Cover  lens  with  cap 


FIG. 


FIG.  99. 


or  shutter;    insert  plate-holder  and  draw  slide;    pose  your  v- 
\     figure  directly  in  front  of  uncovered  portion  of  lens  ;  expose.  /* 
ftext,  without  touching  disc,  slide,  or  anything  but  the  hood, 
gently  revolve  the  hood  on  its  threads  one-half  turn  (Fig.  99), 
and  pose  your  figure  on  opposite  side ;  expose.     The  trick's 
accomplished. 


PHOTOGRAPHIC    AMUSEMENTS. 


Ill 


Another  arrangement  devised  by  Mr.  Frank  A.  Gilniore,  of 
Auburn,  R.  L,  is  shown  in  Fig.  100. 

A  black-lined  box  is  fitted  to  the  front  of  a  camera.  The 
front  of  the  box  is  closed  by  two  doors.  On  opening  one  door 
a  picture  may  be  taken  on  one  side  of  the  plate ;  on  closing 
this  door  and  opening  the  other,  the  other  half  of  the  plate  is 
ready  for  exposure. 


FIG.  100. 


CAMERA    FITTED    WITH    ARRANGEMENT    FOR 
DUPLEX    PHOTOGRAPHY. 


The  subject  poses  in  one  position  and  is  photographed 
with  one  door  optn.  care  being  taken  to  bring  the  figure 
within  the  proper  area  of  the  negative.  The  finder  enables 
'his  detail  to  be  attended  to.  Then  the  door  is  closed,  the 
other  is  opened  and  the  second  exposure  for  the  other  half  of 
the  plate  is  made  with  the  subject  in  the  other  position. 
It  is  not  necessary  to  touch  the  plate-holder  between  the 
exposures.  The  cover  is  withdrawn,  the  one  door  is  opened 
and  the  shutter  is  sprung.  The  doors  are  then  changed  and 
the  shutter  is  sprung  a  second  time.  Time  exposures  are 
rather  risky,  as  involving  danger  of  shaking.  A  picture  made 
by  Mr.  Gilmore  will  be  found  on  the  next  page. 


PHOTOGRAPHIC    AMUSEMENTS. 


113 


DOUBLE  EXPOSURES. 
AMATEURS   often  obtain  unexpected  results  from   careler- 


Tly  C.  A.  Bates. 
FIG.    102.       RESULT    OF    A    DOUHI.E    EXI- 


ness  in  exposing  their  plates.     Some  very  amusing  pictures 


Copyright.  1894,  by  W.  J.  Deinorest. 
FIG.     103.       RESULT    OF    A    DOUBLE    EXPOSURE. 

can.  however,  be  obtained  by  making  two  different  exposures 


114 


PHOTOGBAPHIC    AMUSEMENTS 


on  one  plate.  The  subject  should,  of  course,  be  of  a  very 
different  nature.  Our  illustrations,  Figs.  102-3,  are  examples. 
In  making  these  it  is  necessary  to  give  a  very  short  exposure 
in  each  case,  about  one-half  the  amount  that  would  be  ordin- 
arily required.  The  negative  must  be  carefully  developed, 
using  plenty  of  restrainer.  Similar  effects  can,  of  course,  be 
obtained  by  printing  from  two  different  negatives,  but  the 
results  are,  as  a  rule,  inferior. 


COMICAL  PORTRAITS. 

IF  the  photographer  be  skilled  in  drawing  he  can  make 
some  laughable  pictures  that  will  amuse  his  friends  by  draw- 


FIG.  104. 


ing  a  sketch  of  a  comical  body  without  a  head,  as  shown  in 
Fig.  104;  a  photograph  of  anyone  is  the  cut  out  and  the  head 
pasted  on. 


OR,  C. 

Physician  &  Surgeon, 

Graduate  of  Royal  University  of  Berlin 


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Some  Pen  Points  for  Particular  People 

You  don't  want  to  have  to   think  about  your  pen  when  you  are  writing.     The  time 
to  think  about  a  pen  is  when  you  buy  it 

Pen-making  in  its  perfection,  is  the  accomplished  ideal  of  the  great  modern  establishment 
where  STYLUS  PENS  are  made.     The  Stylus  "does  its  work  and  it  holds  its  peace" 

FIVE    STYLES    TO    SUIT    EVERY    HAND   AND    EVERY   KIND    OF    WORK 


The  Stylus  Falcon 
No.  302 

The  most  popular  of 
pens.  Holding  a  large 
quantity  of  ink,  with 
points  neither  too  coarse 
nor  too  fine.  No  pen  so 
exactly  suits  so  many 
people  in  its  action. 

60  cents  per  gross.         77 

The  Stylus  Pen  ••  S  " 

A  smooth  Stub,  more 
flexible  than  the  STYLUS 
FALCON,  No.  77.  Writers 
who  require  a  coarse 
pen  with  very  easy  ac- 
tion find  the  " STYLUS  S" 
exactly  suited  to  their 
needs. 

75  cents  per  gross. 


The  Stylus  Falcon  Stub 

No.  77 

The  smoothest  stub 
pen  made.  The  point 
glides  over  the  paper 
without  perceptible  fric- 
tion, while  the  shape  has 
all  the  good  qualities  of 
the  STYLUS  FALCON 
75  cents  per  gross. 

The  Stylus 

"  Celebrated  "  C  Pen 

A  medium  fine  pen  for 
general  purposes.     The 


The  Stylus  College  Pen 
No.  I 

A  fine  pen  for  tine  writing. 
Few  manufacturers  succeed  in 
making  a  perfect  pen  as  tine  as 
this,  as  the  process  of  slitting— 
the  last  operation  of  manufac- 
i  ure— damages  ihe  point  unless 
great  care  is  exercised.  This 
pen  is  as  perfect  as  the  coarser 
pens,  flexible  and  durable,— a 
triumph  of  pen  making. 
75  cents  per  gross. 


For  Sale  by  all  Stationers 

or  sent  post-paid  by  mail  on 
receipt  of  price  by  the  makers 


&  Cash 


by  itself.    "Celebrated"  75-77  Eighth  Avenue 

and  justly  so,    for    its 
many  merits. 

75  cents  per  gross.  New  Yorlc 


West  Fourteenth  Street 


stfa 


REGIONAL  LIBRARY  FACILITY 


CENTRAL  UNIVERSITY  LIBRARY 
University  of  California,  San  Diego 


DATE  DUE 


OCT  2- 

.Eft 

15. 


DEC  11 1978 


C139 


UCSD  Libr. 


